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Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.

The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson's father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin

The sophomore album from NYC musician and singer-songwriter Kyle Avallone, is a collection of nostalgic meditations that take you out of the smoky bar and into the gray daylight of a seaside town. It is a cinematic dreamscape steeped in warm vocals, lush synthesizers, and sweeping steel guitars. Throughout the ten songs, tender narratives play like home movies on a living room wall, revealing little worlds and distilled memories.
Recorded at Studio G in Brooklyn with Jeff Berner (Psychic TV), Avallone reaches beyond the lo-fi sleaze of his 2020 debut, Last Minute Man, for a higher fidelity and grander sound palette. “After making a record by myself on an old four-track tape machine, it felt like a natural progression to go into a proper studio and play music with my friends". The core band consists of Mark Perro (The Men) on keys and Russell Hymowitz on bass, who both sing backing vocals, along with David Christian on drums. On several tunes, pedal steel played by Jon “Catfish” DeLorme (The Nude Party) dances around Avallone’s baritone voice, delivering a twang that is distinctively more New York than Nashville.
Inspired by the conversational storytelling of artists like Terry Allen and Lou Reed, Avallone was moved to capture the drama and mystery of his own life experiences. The characters we meet here are flawed. Mistakes are made and lies are told. Love is either lost or on the line. Dreams manifold as both echoes of the past and hopes for the future – the faded glow of childhood impressions in “Down the Hill”; the single mothers’ kitchen table reverie in “Going to the Beach”; the lament for summer’s end in “Vacant Sea”.

Daryl Runswick is a musical polymath, a top Jazz double bass player he has played with the likes of Stan Sulzmann, Alan Branscombe , Henry Lowther and Tony Coe to name but a few but is also a TV composer, was bassist and then pianist for Cleo Laine and Johnny Dankworth and is also a highly regarded contemporary classical composer. In Young Man Songs we find Daryl in song writer mode, teaming up with lyricist Kerry Lee Crabbe, these songs come from the 80 when Daryl was a young man trying to sell his musical wares these are more than demos, beautifully recorded and performed, echoes of Bacharach but ultimately Daryl has his own unique musical voice.

This album, except for one track, dates from the 1982 sessions, wonderfully recorded by John Burns.

John Vincent III, ein 26-jähriger Americana-Künstler, intensivierte seine Liebe zur Musik 2014 in Houston,
TX. Inspiriert von einzigartigen Lyrikern wie Bon Iver, The Districts und The Doors, begann John Vincent
III mit der Kreation seiner eigenen Songs. John Vincent III verbindet mühelos folkige, rhythmische Gitarrenklänge mit gefühlvoller, verletzlicher Lyrik und schafft so die perfekte Mischung aus Indie-Folk-Pop.
John hat seine Singles, seine EP und sein von der Kritik gelobtes Album ”Songs from the Valley” selbst
geschrieben und produziert. Ein großer Teil von Johns musikalischem Erfolg kommt von der unbestreitbaren
Leidenschaft und den rohen persönlichen Erfahrungen, die in ihm leben.
Es ist an der Zeit, das zweite Album von John Vincent III, ”Songs For The Canyon”, der Welt zu präsentieren. Dieses Album wurde in Zusammenarbeit mit renommierten Produzenten wie Tom Elmhirst (Amy
Winehouse, James Bay, HAIM, Florence & The Machine, Mumford & Sons), Tony Berg (Phoebe Bridgers)
und Ryan Hadlock (Lumineers) geschaffen. Es ist Johns erste Veröffentlichung seit seinem 2019er Debütalbum ”Songs from the Valley” und zeigt seine Weiterentwicklung als Musiker und Songwriter im Indie-FolkGenre. Das Album verspricht eine fesselnde musikalische Reise, bei der John Vincent III seine künstlerische
Reife zum Ausdruck bringt.

The debut album of soul singer, Maiiah is also the third full-length by Hamburg collective, Angels of Libra, following on from the success of their collaboration with Irish singer, Nathan Johnston.

Maiiah is a singer with roots in the Balkans but residing in Düsseldorf, the city of the legendary Unique Club and the label of the same name. Soul left its mark on her early on, and when she met Hamburg producer, musician and composer Dennis Rux (Hamburg Spinners/Yeah! Yeah! Yeah! Studios) during the pandemic, the two realized they shared a similar musical vision. Their common love of soul music and old rhythm & blues brought them together, and they started recording music together in Hamburg with the Angels of Libra. Lo and behold, their first single together "Obey" got into rotation at tastemaker station Radioeins and confirmed them as a winning team.



Following in the footsteps of many a classic soul tune, second single, "No No No (I'm So Broke)" is a social critique and commentary. In it Maiiah literally wears her heart on her sleeve, as she sings about the back- breaking job she was working at the time and the poor earnings as a hotel service employee.



But naturally life has more to offer than just work and so a large part of the songs on this record revolve around love. Maiiah gives her own spin to the classic "I'm A Good Woman", which the spirited singer has performed live many times. The story goes that the late DJ and Unique Records label owner Henry Storch sent Maiiah the original song by Barbara Lynn to comfort her after a heavy heartbreak. The song thus holds a very important place in Maiiah's heart, and it was released as the third advance single, recorded during her tour with Nathan Johnston at Bekegg Studios in Rastede, Lower Saxony.



With Dennis Rux at her side and the powerful arrangements of the Angels of Libra, Maiiah has found the right partners for her personal debut. On "Kava" & "Plenty of Life", Hamburg's jack-of-all-trades Carsten Meyer aka Erobique is featured as a guest on the keyboards, so here the rhythm section of the Hamburg Spinners comes together again. The love for old soul, rhythm & blues and the analog sound of the sixties is also fully expressed on this album. The longings and deep feelings in Maiiah's lyrics are carefully picked up musically, whether as a classic R&B song as in "Please Come Home" or in boogaloo party mode as in the Croatian-sung "Kava", the fourth single. "Plenty of Life" is a song for self-cheering and a call to open up to the beautiful sides of life despite all adversity. In "I wanna go", on the other hand, Maiiah longs for her Croatian homeland. The crowning finale of the album is the intense "Infinity" about life's phases and the recurring ups and downs as the essence of human existence.



The ingredients of Maiiah and the Angels of Libra's recipe are authentic lyrics, to the point arrangements, tight horns, rousing background vocals and the spirit of the golden age of soul music, as it was shaped by labels like Motown and Stax. Recorded in part with original equipment from the 50s. Producer Dennis Rux says, "We wanted to create a record that people would go dance to at the Komet" (a neighborhood club on St. Pauli in Hamburg, the band's second home). The joint album combines the Hamburg soul of the Angels of Libra with the passion of Maiiah, who can fully live out her temperament on the mic.

Zum 30-jährigem Jubiläum erweiterte Neuauflage des nächsten Klassikers der Lemonheads aus dem Jahr 1993, inklusive neuem Cover-Artwork. Die bahnbrechende Platte, die auf It's A Shame About Ray und "Mrs. Robinson" folgte, den amerikanischen Alt-Rock weltweit bekannt machte und Evan Dando in die Herzen einer ganzen Generation katapultierte. Mit einer Fülle von unveröffentlichten Demos, alternativen Versionen und Raritäten - darunter Coverversionen von Victoria Williams, Buddy Holly und den Flying Burrito Brothers sowie The Lemonheads' Interpretation des Cole Porter-Standards "Miss Otis Regrets". In den 90er Jahren produzierten Evan's Lemonheads einen Alternative-Hit nach dem anderen, eine Reihe von wirklich guten Singles: 'Big Gay Heart', 'Into Your Arms', 'It's About Time' und 'The Great Big NO'. Pures Genie, das über's Radio ging und die Indie-Herzen eroberte. Heute ist Evan immer noch ein Meister des Songwritings und 'Come On Feel The Lemonheads' klingt nebenbei noch so frisch wie eh und je. Inmitten der Hits der Originalplatte findet sich aber für noch mehr magische Musik, und diese Deluxe-Edition fügt nun eine zweite Disc mit Demos und Akustikversionen hinzu, sowie eine Vielzahl von Tracks aus Sessions und von Compilations, die dem Mythos und seiner Entstehung weitere Farbe verleihen. So covert die Band liebevoll Victoria Williams' "Frying Pan" von ihrem "Sweet Relief"-Album. Dazu gesellen sich eine Reihe von Flipsides und Out-Takes, wie ihre Version des Garagen-Punk-Knüllers "Little Black Egg" von The Nightcrawlers, Evans Hommage an Gram Parsons "Streets Of Baltimore" und Buddy Hollys melancholisches "Learning The Game". Evan erkennt einen guten Song, wenn er ihn hört, und wie 'Come On Feel The Lemonheads' beweist, kann er auch selbst gar keine schlechten schreiben. Unabhängig davon, dass der Vorgänger ,It's A Shame About Ray" als der Klassiker der LEMONHEADS dargestellt wird, hat der Nachfolger ... seine ganz eigene Geschichte. Erneut gab Juliana Hatfield mit den Ton an, ... auch wenn auf diesem Album Nic Dalton hauptsächlich den Bass einspielte. Es geht insgesamt ruhiger zur Sache, orientiert man sich nur an den Singleauskopplungen ,Into your arms", ,The great big no", ,It's about time" oder ,Big gay heart"." - OX 2015 "Dabei hat Evan Dando seine musikalische Palette wieder erweitert: Neben reinen Country-Songs mit Slide-Gitarre und den poppigen Parts, blitzen plötzlich doch wieder nach vorne treibende punkige Tracks auf. Und diese Mischung passt so gut, dass selbst Pop-Göttin Belinda Carlisle (!) mal singen und auch Punk-Ikone Rick James seinen Part beisteuern darf." - Visions 1993

Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.

Originally released in Canada in 2006, and worldwide by 2007, Patrick Watson's breakthrough album has sold over 100,000 copies. Wooden Arms is Patrick Watson's highly anticipated follow-up to the critically acclaimed Close to Paradise, which vaulted the man and his band to international stardom in 2007. The Montreal band toured non-stop for two years following initial Canadian release of Close to Paradise in 2006, and in many ways Wooden Arms is the story and sound of a band waking up in strange places all around the world.

Whether it's the bicycle-city sound of Beijing,' or the warmth of a hole in the wall' in sweet New Orleans' on Big Bird in a Small Cage,' or the haunting European waltz of the title track, you can't help but feel in listening to Wooden Arms like you're on the road with the band. Sometimes it's dirty, sometimes it's wild, but it's never, ever boring.

Close to Paradise won Canada's prestigious Polaris Prize in 2007, turning more than a few heads in beating out offerings from Arcade Fire and Feist, among others. By the time it saw release in the United States, Europe and Japan, the band was flying all over the world, garnering rave reviews for the album and their blistering live show alike.

Drittes Soloalbum des dänischen Pretty Maids Sängers Ronnie Atkins-" Trinity". Seit bei Ronnie 2019 Lungenkrebs im vierten Stadium diagnostiziert wurde, hat er keine Sekunde seiner Zeit verloren, die er mit dem Komponieren und Aufnehmen von zwei sehr erfolgreichen Veröffentlichungen "Make it Count" und dem Debüt "One Shot" verbracht hat, die beide von Kritikern und Fans gleichermaßen sehr gefeiert wurden. Vor kurzem hat er auch Live-Shows mit seiner eigenen Band und mit dem Avantasia-Projekt wieder aufgenommen. Später in diesem Jahr plant er, wieder auf Tour zu gehen, um das neue Album zu unterstützen. "Ich glaube, ich habe heutzutage eine andere Perspektive auf das Leben als noch vor 4 Jahren", sagt Ronnie. "Lassen Sie mich hinzufügen, dass die Arbeit, die in meinem Fall darin besteht, Songs zu schreiben und auf der Bühne zu stehen, das ist, was mich am Laufen hält, denke ich. Ich konzentriere mich gerne auf die positiven Aspekte des Lebens und gönne mir Dinge, die ich wirklich gerne tun möchte." Never change a winning team und so wurde das Album erneut von Chris Laney produziert und Jacob Hansen kümmerte sich um den Mix und das Mastering.Das Album ist vielleicht etwas härter geworden, da alle Songs auf der Gitarre komponiert wurden. Seit Beginn seiner Rock'n'Roll-Reise mit Pretty Maids hat Ronnie Atkins seine Fans immer wieder mit qualitativ hochwertigem, melodischem Hard Rock beschenkt und "Trinity" zeigt ihn erneut in Höchstform.

One of a kind Auftritt von Night Ranger am 09. November 2022. Im Key Bank State Theatre in Cleveland traten sie während der gesamten Show mit dem Contemporary Youth Orchestra auf. CYO besteht aus mehr als 90 Musikern im Alter von 12 bis 18 Jahren, die mehr als 40 Schulen in Ohio repräsentieren. Es ist ein komplettes Orchester, Bläser-, Streicher- und Schlagzeugensemble. Das Orchester spielte an diesem Abend zusammen mit Night Ranger bei allen 15 Songs. Das 1995 gegründete CYO hat sich zum Ziel gesetzt, Studierenden die Möglichkeit zu geben, sowohl neue als auch zeitgenössische Orchestermusik aufzuführen. Eines der regelmäßigen Projekte des in Cleveland ansässigen CYO ist die Zusammenarbeit mit bekannten Pop- und Rock-Acts wie Jefferson Starship, Styx, Pat Benatar sowie Kenny Loggins u.a. für Orchesterkonzerte mit den Werken der Künstler. Es ist ein etwas anderes Arrangement ihrer Musik, bei dem das Orchester mit dem Komponisten zusammenarbeitet. Diese Show war anders als jede andere Night Ranger-Show, sie sammelte nicht nur Spenden, sondern die Band beschloss auch, den gesamten Auftritt zu filmen um den außergewöhnlichen Abend zu dokumentieren. Diese einzigartigen Interpretationen ihrer größten Hits wurden zum ersten Mal aufgeführt. Die Setlist kombinierte die Klassiker der Band, neue Songs und Coverversionen, ein wirklich einmaligen Night Ranger-Konzertereignis.

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

From the opening “The Vamp” to the final “Head Rock”, this is a dazzling jazz rock showcase with dreadnought songs that are filled with ideas and passion you can hold. A masterpiece that has an overwhelming presence in the history of jazz in Japan, as a heresy left on the prestigious jazz label Tact.


Bass – Yasuo Arakawa

Drums – Sadakazu Tabata

Guitar – Ryo Kawasaki

Organ – Masaru Imada

Tenor Saxophone, Soprano Saxophone – Jiro Inagaki

Trumpet – Tetsuo Fushimi

Das neue Album der Outlaw-Alt-Folk-Band Tejon Street Corner Thieves, Juxtaposition, vereint Americana, Bluegrass, Folk und Punk in einem selbstbewussten Werk. 'Das Album handelt von Leben und Tod, Liebe und Verlust, Party und Nüchternheit. Es umfasst die große Bandbreite an Emotionen, die wir im Laufe des Lebens unserer Band erlebt haben“, sagt Sänger/Banjo-Spieler Connor O'Neal. 'Wir haben die Unterschiede in unseren Schreibstilen erkundet und sie auf eine Art und Weise kombiniert, die ein Auf und Ab lustiger Party-Jams und ernsthafter und manchmal herzzerreißender Americana-Hymnen erzeugt. Inspiriert von unseren Freunden und unserer Familie war die ganze Welt unsere Leinwand für Juxtaposition.'

L+P-2 is Rivet's second album following his acclaimed debut, On Feather and Wire, released on Editions Mego in 2020. The wheels were already in motion for a subsequent album on the same label, but tragedy struck. Peter "Pita" Rehberg, the legendary owner of Editions Mego, suddenly passed away at only 53 years old, leaving the experimental electronic music community in a state of pitch-black grief. Rivet was among the many deeply affected by this loss. The inspiration and support from Rehberg had propelled Rivet to create at a level he himself was uncertain he had mastered. For Rivet, Rehberg's death felt like the death of music.

However, that brooding sentiment was abruptly shattered when Rivet's beloved dog and companion, Lilo, was diagnosed with incurable cancer just a couple of months later. They were inseparable, and now they would be separated nonetheless. The only way Rivet could cope with this double blow was to compose—for Lilo, for Pita, for his own sanity. L+P-2 is the result.

While the album naturally emerges from a place of despair, it's remarkably comforting. Partly, this stems from Rivet's singular ability to make machines not only sound human but also act human—sincere and warm, yet flawed. In more than one track on L+P-2, you'll encounter a distinctive melody and a gnarly bassline dancing hand in hand with Rivet's eccentric and captivating drum patterns. Then, seemingly on a whim, the melody takes off on its own, leaving the faithful bassline behind—much like a dear friend that suddenly vanishes from your life without warning. Yet life goes on, and so does the music. But never unchanged. Never.

L+P-2 is an album of lamentation, yet also of resolve—a dedication to those who go through life losing more than their share because they always carry too much.

After a 3-year hiatus, Noerk is back with a spacey acidic three tracker plus a rolling peaktime remix from our good friend and really talented producer Lee Burton. Untitled_02 is an electrified, deep yet funky tribute to Vangelis (as we perceive it) with lush synthesizers and grooving 303s. Pending forties is reminding us of the 90s era when sample based breakbeat and acid realised they were made for each other like peanut butter and jelly. It's Over (original mix), on the other hand, follows a more straightforward 4 on the floor loop and lets the jazzy chords and the intergalactic melodies do all the work. Lee Burton's remix wraps up the EP nicely offering us a certified banger with 90s house elements that can destroy any dancefloor. We have entered the wormhole. Time and space are no longer relevant. Only feelings.

"Swedens best kept rock n roll secret is back to claim their throne!"

With over a half a million sold albums The Refreshments has proven to be one of Sweden's most solid rock ´n´ roll acts.
It rocks and it rolls in a way like if Chuck Berry was born in Wales and formed a band with Dave Edmunds.
You can call it pub rock, rhythm and blues, country, and all the above but I prefer to call it rock n roll as it was meant to be delivered.

"Swedens best kept rock n roll secret is back to claim their throne!"

With over a half a million sold albums The Refreshments has proven to be one of Sweden's most solid rock ´n´ roll acts.
It rocks and it rolls in a way like if Chuck Berry was born in Wales and formed a band with Dave Edmunds.
You can call it pub rock, rhythm and blues, country, and all the above but I prefer to call it rock n roll as it was meant to be delivered.

Ennio Morricone composed and arranged scores for more than 500 film and television productions, making him one of the most influential and best-selling film composers since the late 50s. The Legend of 1900 (Italian: La leggenda del pianista sull’oceano).

The Legend of 1900 is a 1998 Italian drama film directed by Giuseppe Tornatore and starring Tim Roth, Pruitt Taylor Vince, and Mélanie Thierry. The film is inspired by Novecento, a monologue by Alessandro Baricco. The Legend Of 1900 was nominated for a variety of international award, winning several for its soundtrack, including a Golden Globe for Best Original Score - Motion Picture. This release includes the song “Lost Boys Calling” featuring Roger Waters & Eddie van Halen.

Throughout his career, Morricone received an unprecedented amount of awards, including Grammys, Golden Globes, and BAFTAs. Ennio Morricone has influenced many artists including Danger Mouse, Dire Straits, Muse, Metallica, Radiohead, Hans Zimmer, and many more.

The Legend of 1900 is available limited edition of 5000 numbered copies on smoke coloured vinyl. The package includes an insert.

Der belgische Barock-Folk-Dichter Loverman veröffentlicht sein Debütalbum "Lovesongs". Alle Songs wurden von Loverman geschrieben und von Pieterjan Maertens und Jo Francken produziert, die vor allem für ihre Arbeit mit Tamino und Zaz bekannt sind. Die Liebe ist das zentrale Motiv des Albums und schwingt in jedem der 11 Songs mit - eine warme, intime und offene Atmosphäre durchdringt die ganze Platte.

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Orbiting Human Circus' new album is called Quartet Plus Two. What is Orbiting Human Circus? It is the continuing evolution of Julian Koster (Neutral Milk Hotel, The Music Tapes), whose music and storytelling under this moniker have encompassed immersive theater and a Night Vale Presents podcast, as well as more traditional albums. Central to the album are the "two" referenced in the title: North and Romika, the singing saws, whom Koster doesn't "play" so much as encourage. "I think saws sing like angels," says Koster. "I always have. Since I was a little boy. When you encourage them to sing, they do so earnestly and beautifully. It's an honest and real sound." The origins of Quartet Plus Two are as magical and seemingly unlikely as everything else in Koster's career. While walking through New York's Central Park, he stumbled upon Gauvain Gamon and Kolja Gjoni_a standup bass player and drummer, respectively_playing Gershwin and Mingus, and a musical partnership was born. Pianist Benji Miller rounds out the titular quartet, with Koster's longtime collaborators Robbie Cucchiaro (horns) and Thomas Hughes (orchestral arranging and chimes) of The Music Tapes also contributing to the record. The music they make together is at once familiar and unrecognizable, as Koster and Orbiting Human Circus interpret jazz compositions by Irving Berlin, Duke Jordan, George and Ira Gershwin, and others, alongside Koster's three originals. The use of the term "composition" is intentional and speaks to Koster's relationship with the music of Quartet Plus Two in far more evocative terms than "cover" or "standard." "To me it was always magical that there were these people called `composers' who created symphonies and popular songs for other people to breathe into life and existence all over the world and throughout time," he explains. "They traveled into our homes as sheet music, endless recorded interpretations, or were passed from hand to hand, village to village, like folk tales, changed by every hand that touched them. That music was something that came to life in our own living rooms and lives, songs that our grandmothers might have sung in a choir that we might sing just as earnestly. I just think it's nice, and I would love to share that feeling in any way we can."

Re-Release von R.I.B., das Album der deutschen Thrash Metal Legende Tankard, das ursprünglich am 2014 über Nuclear Blast Records veröffentlicht wurde. Fast zehn Jahren nach seiner ursprünglichen Veröffentlichung, wird das Album in limitierter Auflage als Gatefold Red/White/Black Splatter veröffentlicht.

The phoenix symbolizes a new beginning. The fire burns off the last vestiges of the past as the bird spreads its wings and takes flight into the future. The Polyphonic Spree harness the flames of rebirth on their 2023 full-length offering, Salvage Enterprise. Led by frontman, founder, producer, multi-instrumentalist, and visionary Tim DeLaughter, the group embark on their next season. They're reverent of their history, yet they're also ready for an even brighter tomorrow. "Across all of the music I've done, lyrically there's a sense of desperation and a moment of convincing myself I'm going to make it through regardless of how the music dresses up," notes Tim. "On this one, I struggled with the amount of vulnerability I was experiencing and was willing to share both musically and lyrically, but ultimately decided to let it play out. Now that it's done, I'm happy with the dance between the two. It's a `rising-from-theashes' record." Salvage Enterprise beckons complete immersion. Opener "Galloping Seas (Section 44)" affixes softly strummed acoustic guitar to an orchestral hum as Tim urges, "Hold on through the galloping seas." "We're all galloping through rough waters," he says. "I tried to describe the process as well as I could and encourage people to keep their heads above the storm and the waves. Ride it out. It's going to be okay. It starts off very calm and introspective, and you can envision where it's going." Flute echoes over nimbly plucked guitar during "Shadows On The Hillside (Section 48)" as keys twinkle. A glorious harmony amplifies the nostalgia of "Hop Off The Fence (Section 49)." It concludes with "Morning Sun, I Built The Stairs (Section 52)." Optimism strains through his hopeful intonation, "I learned to fly, the more that I become a new reason, I want to try," uplifted by boisterous horns and cinematic strings. It crashes into an Ennio Morricone-style crescendo bolstered even higher by operatic vocals. "There is an arc of leaving the world behind, stripping your old self away, and becoming new again," he offers. "You're shedding off this old world, and you're heading into the future. It's an epic ending. You've made it. You're going to be alright." In the end, The Polyphonic Spree are the soundtrack to that light at the end of the tunne

Ancient Infinity Orchestra is a 14-member jazz ensemble led by double-bassist and composer Ozzy Moysey, based in the bustling creative city of Leeds in the North of England – home to one of the most innovative and community-based jazz scenes in the UK. Saxophonist Matt Cliffe who also performs with Matthew Halsall is a key member and the rotating line-up which includes drums, two bassists, keyboards, harp, violin, cello, two tenors, alto, oboe, flute and percussion. "River of Light’ drinks deep from the well of spiritual jazz and is especially inspired by the soulful sounds of Pharoah Sanders, Alice and John Coltrane but also channels a certain Northern sensibility that can be heard in the music of Matthew Halsall or Alabaster de Plume. Melodic, warm and honest this is music that is happy to wear its heart on its sleeve.

RuPaul "Ho Ho Ho" is the 1997 third studio album, but the first Christmas album by legendary drag queen RuPaul.
The album contains ten Christmas standards and three originals, including "You're a Mean One Mr. Grinch", "Santa Baby" and "I Saw Daddy Kissing Santa Claus". It's a yuletide classic, camp at its finest as RuPaul really puts the "Ho" in Holiday.

Das 35-jährige Jubiläum der Popsensation Milli Vanilli wird mit einer besonderen Veröffentlichung gefeiert, die eine Hommage an die zeitlosen Hits der Kultgruppe darstellt: "The Best of Milli Vanilli (35th Anniversary)". Diese Zusammenstellung verspricht den Fans eine Reise durch Songs, die eine Ära prägten, darunter Chartstürmer wie "Girl You Know It's True", "Blame It On the Rain", "I'm Gonna Miss You" und "Baby Don't Forget My Number". Diese Songs begeistern noch heute ein weltweites Publikum und zeigen den anhaltenden Einfluss von Milli Vanilli auf die Musiklandschaft. Milli Vanilli war eine der populärsten Musikgruppen in den späten 80er und frühen 90er Jahren, von ihrem ersten Album "All Or Nothing" wurden weltweit über 8 Millionen Exemplare verkauft. Mit ihrem Debüt-Hit "Girl, You Know It's True" wurde ein einzigartiger Hype ausgelöst, der die beiden ehemaligen Clubtänzer Rob Pilatus und Fab Morvan zu Pop-Superstars machte. Sie wurden bejubelt, verehrt und gefeiert. 1990 wurde die Gruppe mit einem Grammy als "Best New Artist" ausgezeichnet, der ihr später wieder aberkannt wurde, nachdem bekannt geworden war, dass Rob Pilatus und Fab Morvan - das Gesicht des Projekts - nie wirklich gesungen hatten. Die Songs wurden von Frank Farian produziert - der auch hinter anderen Gruppen wie Boney M., La Bouche und No Mercy steckt - und verwendete die Stimmen der Sänger Brad Howell, John Davis, Jodie Rocco, Linda Rocco und Charles Shaw. Der Skandal machte weltweit Schlagzeilen und das Duo ging getrennte Wege

Das 35-jährige Jubiläum der Popsensation Milli Vanilli wird mit einer besonderen Veröffentlichung gefeiert, die eine Hommage an die zeitlosen Hits der Kultgruppe darstellt: "The Best of Milli Vanilli (35th Anniversary)". Diese Zusammenstellung verspricht den Fans eine Reise durch Songs, die eine Ära prägten, darunter Chartstürmer wie "Girl You Know It's True", "Blame It On the Rain", "I'm Gonna Miss You" und "Baby Don't Forget My Number". Diese Songs begeistern noch heute ein weltweites Publikum und zeigen den anhaltenden Einfluss von Milli Vanilli auf die Musiklandschaft. Milli Vanilli war eine der populärsten Musikgruppen in den späten 80er und frühen 90er Jahren, von ihrem ersten Album "All Or Nothing" wurden weltweit über 8 Millionen Exemplare verkauft. Mit ihrem Debüt-Hit "Girl, You Know It's True" wurde ein einzigartiger Hype ausgelöst, der die beiden ehemaligen Clubtänzer Rob Pilatus und Fab Morvan zu Pop-Superstars machte. Sie wurden bejubelt, verehrt und gefeiert. 1990 wurde die Gruppe mit einem Grammy als "Best New Artist" ausgezeichnet, der ihr später wieder aberkannt wurde, nachdem bekannt geworden war, dass Rob Pilatus und Fab Morvan - das Gesicht des Projekts - nie wirklich gesungen hatten. Die Songs wurden von Frank Farian produziert - der auch hinter anderen Gruppen wie Boney M., La Bouche und No Mercy steckt - und verwendete die Stimmen der Sänger Brad Howell, John Davis, Jodie Rocco, Linda Rocco und Charles Shaw. Der Skandal machte weltweit Schlagzeilen und das Duo ging getrennte Wege

Das 35-jährige Jubiläum der Popsensation Milli Vanilli wird mit einer besonderen Veröffentlichung gefeiert, die eine Hommage an die zeitlosen Hits der Kultgruppe darstellt: "The Best of Milli Vanilli (35th Anniversary)". Diese Zusammenstellung verspricht den Fans eine Reise durch Songs, die eine Ära prägten, darunter Chartstürmer wie "Girl You Know It's True", "Blame It On the Rain", "I'm Gonna Miss You" und "Baby Don't Forget My Number". Diese Songs begeistern noch heute ein weltweites Publikum und zeigen den anhaltenden Einfluss von Milli Vanilli auf die Musiklandschaft. Milli Vanilli war eine der populärsten Musikgruppen in den späten 80er und frühen 90er Jahren, von ihrem ersten Album "All Or Nothing" wurden weltweit über 8 Millionen Exemplare verkauft. Mit ihrem Debüt-Hit "Girl, You Know It's True" wurde ein einzigartiger Hype ausgelöst, der die beiden ehemaligen Clubtänzer Rob Pilatus und Fab Morvan zu Pop-Superstars machte. Sie wurden bejubelt, verehrt und gefeiert. 1990 wurde die Gruppe mit einem Grammy als "Best New Artist" ausgezeichnet, der ihr später wieder aberkannt wurde, nachdem bekannt geworden war, dass Rob Pilatus und Fab Morvan - das Gesicht des Projekts - nie wirklich gesungen hatten. Die Songs wurden von Frank Farian produziert - der auch hinter anderen Gruppen wie Boney M., La Bouche und No Mercy steckt - und verwendete die Stimmen der Sänger Brad Howell, John Davis, Jodie Rocco, Linda Rocco und Charles Shaw. Der Skandal machte weltweit Schlagzeilen und das Duo ging getrennte Wege

Music compilation and art book. We open the GLITZERBOX again and look into a glittering kaleidoscope of music and illustration. Crossing genres, in handmade editions and with great attention to detail, Jimmy Draht fuses artistic ideas into a new whole.

The vinyl contains beautiful folk songs, experimental collages, field recordings and lo-fi pop. All tracks are exclusive or have never been released on vinyl before.

Featuring music by: Maxine Funke, Tenniscoats, Mouth Harp Ensemble, How to count planets, A Happy Return, Benoit Pioulard, New North Wales, Dump, My Two Toms, Oro Swimming Hour, Matthew de Gennaro, The Gentlist, Andersens, Jam Money, Michael Tanner.

The artists, whether they paint, draw, scribble or cut, whether analogue or digital, whether they are graphic artists, illustrators or visual artists: they combine image and sound, discover connections and show that music can create images and vice versa.

Art by Petra Péterffy, Laurent Impeduglia, Nadine Spengler, Michael Dumontier, Tomoko Mori and Nicholas Stevenson.

A limited and numbered edition of 300, with hand-printed 3 color silkscreen book. Compiled by Markus Acher (The Notwist) and Jimmy Draht.

Since the late 90s JIMMY DRAHT publishes elaborately designed music-graphic-comic-text hybrids, most of them handmade and screenprinted. Initiated by Marion Epp, often in cooperation with a music label, artists from various genres are invited to participate. Each release is accompanied by exhibitions and music events.

Bands such as Calexico, The Notwist, Lali Puna, Neoangin, Pram, Otomo Yoshihide, A Million Mercies, Ted Milton, MS John Soda, Schwermut Forrest, Tied & Tickled Trio have participated (to name a few).
In terms of design we were lucky to showcase the works of ATAK, Anna Sommer, Knust, CX Huth, Katz & Goldt, Judith Zaugg, Thomas Ott, Jochen Gerner, Martin tom Dieck, Jim Avignon, Le Denier Cri, Elvisstudio and many more.

ALIEN TRANSISTOR was founded in 2003 by Markus & Micha Acher of The Notwist. The concept of the label is to produce music that has a musical or personal reference to the Notwist microcosm: From electronic soundscapes to abstract hip-hop to laptop-treated contemporary, from processed oriental music to Nick Drake-inspired songwriting. Alien Transistor respects no musical boundaries.

Janis is an album by Janis Joplin, released in 2023. Janis includes a.o. the following tracks: “Mercedes Benz”, “Rap On "try"”, “Dick Cavett T.V. Interview (1970)”, “Piece Of My Heart” and more. The album is a Coloured Vinyl, High Quality, Insert rock 2-LP.

After a string of two dozen brilliant albums beginning in the 1950’s, clarinetist, saxophonist, flutist,
composer and arranger Jimmy Giuffre stopped recording. For nearly ten years he focused solely on
live performance. This album, Music for People, Birds, Butterflies and Mosquitoes, marked his return
to the studio after his self imposed hiatus. Known for developing forms of jazz which allowed for free
interplay between the musicians, Giuffre began his career as an arranger for Woody Herman’s big
band in the late 1940s. Playing primarily saxophone, he became a central figure in the West Coast
cool jazz scene of the 1950’s, with the Lighthouse All Stars in Hermosa Beach, CA. In the late 50’s, he
began working within different configurations of the trio format, on what he called “blues-based folk
jazz.” A prime example being his piece "The Train and the River" famously featured in 1958 Newport
Jazz Festival concert film, Jazz On A Summer’s Day. The trio here is completed by drums and bass
with Giuffre trading seamlessly between tenor saxophone, clarinet, flute and bass flute. The twelve
original compositions are very much in Giuffre’s signature style. The melody explorations have an
eastern vibe, and are played in hushed tones with an almost chamber music like quality. From 1973,
originally on the Choice label, this album has been remastered and is being presented here as the
artist intended, with its original title, track order and album artwork, for the first time since its original
release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out
Vinyl.

Stacey Kent is a classic jazz singer with a legion of fans, international honors and awards, sales in the
millions, and chart-topping albums spanning a 25 year career. As the title suggests, 1998’s Let
Yourself Go: Celebrating Fred Astaire, is a tribute to one of Kent’s heroes. The album features songs
from The Great American Songbook made famous by Astaire on film. Like Astaire, Kent seamlessly
and easily takes the audience along with her, creating an elegant intimacy in her performances.
Thanks to the tight arrangements, effortlessly executed by Kent's skilled section, the recording exudes
a remarkable sense of musical cohesion and sophistication. Kent's interpretation of the songs is
marked by her understanding of the lyrics, conveying their emotional depth and subtle nuances.
Produced by Kent’s long time companion and collaborator Jim Tomlinson and recorded at Curtis
Schwartz Studios, England, the album has been remastered and is available on vinyl for the first time
in over a decade as a 2xLP set. Remastered by Alex McCollough at True East Mastering. Vinyl cut by
Jeff Powell at Take Out Vinyl

As the title suggests, the recording Tenorlee finds Lee Konitz, the great American saxophonist,
playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend,
Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz
entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz
saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing
professionally. He made a staggering 150 albums as a band leader over the course of his long and
storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette
Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden.
Between 1948 and 1950, he was a member of Miles Davis’ group, and participated in the recordings
that would eventually be collected and released as Birth of The Cool. With a trio featuring Lighthouse
All-Star alum Jimmy Rowles on piano and Michael Moore on bass, Kontiz called out old and familiar
songs. The intention was to “let the tunes happen” as only finely tuned jazz musicians of certain
experience can. Of note is “Lady Be Good” which finds Konitz and Rowles quoting Lester Young’s
solo from the 1936 recording with Count Basie. From 1978, originally on the Choice label, this album
has been remastered and is presented here as the artist intended, with its original title, track order and
album artwork, for the first time since its original release. Remastered by Alex McCollough at True
East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl.

NEA Jazz Master, Toots Thielemans, is widely considered to be the preeminent jazz harmonica
player. It is safe to say that before him, the harmonica in jazz was simply not done, and Thielemans
can be credited with legitimizing the instrument in the genre. Born in Brussels, Belgium in 1922.
Theileman’s excelled on accordion as a small child, before picking up the guitar as a teenager after
hearing Django Reinhart. Along the way, he taught himself to play harmonica as a hobby. In 1948,
during a visit to the US, he sat in on guitar with a jazz group at small club in New York and was
“discovered.” Engagements soon followed with the likes of Benny Goodman, Charlie Parker, Miles
Davis, Oscar Peterson, Dizzy Gillespie, Quincy Jones and more. As the story goes, in response to a
musicians’ union restriction, Thielemans was forbidden to play guitar at a gig. So, he pulled out his
harmonica. The rest, as they say, is history. He went on to have a long and prolific career on the
instrument, as both a band leader and session musician. With his unique sound, he became a go-to
for film scores in the 1970s (The Pawn Broker, Midnight Cowboy). Perhaps most notably, Thielemans
is unconsciously known to generations for having played the melody on Sesame Street’s famous
closing theme. Organized as a purely jazz session, the date here prominently features a young Joanne
Brackeen on piano. It is perhaps Brackeen’s presence that makes this set so interesting. As an
avant-garde player she provides the vehicle for Thielemas to explore more advanced ideas. The
album covers a wide range of material, including two originals by Brackeen, alongside standards by
Coltrane, Ellington, Mercer and Mancini.

An introduction to our next release that we name DOUBLE JOURNEY.

Featured When we are all truly Free composed by Kuniyuki Takahashi. Taken from the forth coming Translate Pt 2 by Joe Claussell. When we are all Free takes one on a journey into cosmic landscapes and deep though provoking sounds. Residue I Believe by Joaquin Joe Claussell of deep tech house that continues to tap into and express the darker side of Joe Claussell

SORA
It is times such as these that further supports our choice of remedy and why our pursuit to delve deeper into the creative process remains relentless and of profound importance. Due to the unfortunate and dangerous constant overlooking the special gift bestowed upon all of us by the higher power, it calls upon us to continue forward with our mission for productive change which has become ever more crucial to reach. What we're referring to isn't exactly in plain sight for all to see, but obvious enough to those who care to pay attention. However, what has become undeniably apparent to us; is the powerful moving vibration that emits from sound and art and how we connect with them. It is a higher calling that cannot be neither denied nor questioned, and we can only praise the wisdom, truth and love that they bestow upon us. Thoughts like the aforementioned is how and why SORA; an extension of Sacred Rhythm Music & Cosmic Arts, came into existence. Enjoy the Double Journey…

Named for the Grateful Dead song that concludes this inspired double
album, Uncle John's Band features masterful guitarist John Scofield at
his most freewheeling
Wide ranging repertoire finds his trio with Vicente Archer and Bill Stewart tackling
material from Dylan's "Mr Tambourine Man" to Neil Young's "Old Man", from
Leonard Bernstein's "Somewhere" to the Miles Davis Birth of the Cool classic
"Budo". And jazz standards including "Stairway to the Stars" and "Ray's Idea" rub
shoulders with seven Scofield originals that are variously swing, funk and folkinflected. The red thread through the programme is the trio's tremendous
improvisational verve.
"I feel like we can go anywhere," says John Scofield of the group's multidirectional versatility.
Uncle John's Band was recorded at Clubhouse Studio in Rhinebeck, New York, in
August 2022.

Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.

Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.

Culled from half a decade of home four-tracking, Remote Echoes is a hissy, crumbly, and ungrounded expression of Clay Parton and Canaan Amber's ongoing Duster project. A mix of cassette only demos released under the banners Christmas Dust and On The Dodge, this 14 track album also includes a bevy of previously unissued stragglers. Duster's unique blend of fuzzy guitars, bargain synths, muffled percussion, and hushed vocals anticipated chillwave, mumblecore, and corecore, elegantly illustrating the holy trinity of slacker vices: cigarettes, coffee, and the weed supr eme.