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CELTIC THUNDER Greatest Hits showcases decades of wonderful Irish music! Irish favorites include “Heartland," “Galway Girl” and “Whiskey in the Jar." On the spiritual side, the globally touring group sings “Hallelujah” and “Amazing Grace." Garnering hundreds of millions of streams and tickets sold, Celtic Thunder has been hailed as BILLBOARD’s Top World Music Artist.

Surf Trash, die aus Lake Macquarie stammen und im australischen Newcastle leben, machen melodischen Surf-Pop-Punk, der laut aufgedreht grossartig klingt, wenn man im Auto des Kumpels auf dem Weg zurück zum Strand fährt. Ihr von Jack Nigro (The Terrys, Pacific Avenue, Rum Jungle) koproduziertes Debütalbum ist voller Hooks, Melodien, gewaltiger Gitarrensoli und Mitsing-Refrains. Sie haben bereits zwei US-Tours absolviert und erregten viel Aufmerksamkeit.

"Surf Trash sind hier und im Ausland gerade der absolute Hammer und das zu Recht." – Claire Mooney, triplej (US)

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

Tina Turner’s Iconic breakthrough album is celebrating its 40th anniversary, with the 2015 remaster now available on this limited edition Pearl Vinyl.

Private Dancer catapulted Tina into superstardom, selling 5 million copies in the US alone. It featured the #1 single What's Love Got To Do With It as well as top 10 hits, Let's Stay Together and Private Dancer written by Dire Straits singer/guitarist Mark Knopfler. Tina cleaned up at the 1985 Grammy Awards claiming 4 awards including Record Of The Year, Song of the Year and Best Vocal Performance.

Tina Turner’s Iconic breakthrough album is celebrating its 40th anniversary, with the 2015 remaster now available on this limited edition picture disc.

Private Dancer catapulted Tina into superstardom, selling 5 million copies in the US alone. It featured the #1 single What's Love Got To Do With It as well as top 10 hits, Let's Stay Together and Private Dancer written by Dire Straits singer/guitarist Mark Knopfler. Tina cleaned up at the 1985 Grammy Awards claiming 4 awards including Record Of The Year, Song of the Year and Best Vocal Performance.

Born from a childhood friendship, the five members of Ciao Kennedy have crafted their own sound and feeling after exploring a variety of different musical horizons. Following the release of EPs 'Keldercave' (2021) and 'the problem is' (2022), as well as being featured on the compilation Lefto presents Jazz Cats Vol. 3 in the spring of 2024, it was only a matter of time for the Brussels-based band to reappear on the music circuit.

As part of the Magma collective, alongside groups like TUKAN and ECHT!, they started to stand out with their instrumental music merging the playfulness of jazz,the repetitive facets of post-rock, and the overtly grand electronic sound evident in what is nowadays described through the grapevine as the 'Brussels sound'.

With Solarium, their debut album set to be released under the Sdban Ultra label, they have found a course and common denominator in guitars drenched with post-rock effects, steered by hypnotic electronic beats, creating an atmosphere of rare, dense melancholy, peppered with a sound that belongs in a blockbuster sci-fi movie.

Ciao Kennedy and its debut album are a tangy candy bursting in your mouth, the thrill of an afternoon at the fair, modernity meeting up with the nostalgia of childhood. Or standing beneath the shimmering neon lights of a rainy night, like colourful poetry, blending tenderness with electric intensity. Many of these musical descriptions would be completely off the mark, but after a few listens, they don't seem to miss the mark either. There's something for everyone to discover on this album, oscillating between the familiar and the unexpected, melancholy and cheer, and while everyone keeps on talking about something being a 'vibe', we can only conclude that Ciao Kennedy is the only one putting this into action.

To celebrate the release of Solarium, the band will host a release party at the Brussels venue Botanique on April 17, 2025. A must-attend event for everyone who wants to see if the live reputation which precedes Ciao Kennedy is actually true. Whatever happens, make sure to keep that date free.

Release show: 17/04 Botanique, Brussels.

LOS TRES PUNTOS : the enthusiasm of ska and the rage of punk rock inherited from the 80s french alternative movement, combined for an explosive cocktail to wake the dead! Unbridled rhythm, relentless brass section, unifying songs in French and Spanish ; the band has scoured concert halls in France and abroad.

This "live in Mexico" was recorded in November 2023 in front of 60,000 people at the Skatex Festival in Mexico City, celebrating the 30th anniversary of the group.

14 Tracks taken from the best of their discography, played with the energy and experience of the Los Tres Puntos gang.

Strut Records is proud to announce a new official reissue of Simigwa by Gyedu-Blay Ambolley, launching a series of releases on Strut celebrating the legendary Ghanaian label Essiebons.

Essiebons, founded by Ghanaian music producer Dick Essilfie-Bondzie in 1959, is one of Ghana's most important independent labels featuring prominent artists such as Gyedu-Blay Ambolley, C.K. Mann, and Ebo Taylor. Ambolley’s Simigwa is a groundbreaking album, recognised as a Ghanaian classic and boasting one of the most iconic covers of the 1970s. Originally released in 1975, the album introduced Ambolley's unique "Simigwa" style, which combined highlife with funk and soul, influencing the evolution of a new generation of Ghanaian artists.

This new Strut LP reissue features an exclusive interview with Ambolley himself, offering fresh insights into the creation of this classic album.

Gyedu-Blay Ambolley’s innovative fusion of highlife with influences from American soul and funk solidified his position as a key figure in Ghana’s vibrant 1970s music scene. His solo career followed work with iconic bands such as Houghas Extraordinaires, Meridians of Tema, Ghana Broadcasting Band and the Uhuru Dance Band. Inspired by the legendary James Brown, Simigwa delivers infectious rhythms, dynamic horn sections, bold vocal stabs, and mesmerising percussion breaks. An enduring classic for all fans of highlife and Afro-funk.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

Yellowstone is an American neo-Western drama television series. The series stars Kevin Costner, Luke Grimes, Kelly Reilly and follows the conflicts along the shared borders of the Yellowstone Dutton Ranch, a large cattle ranch, the Broken Rock Indian reservation, Yellowstone National Park, and land developers. The first part of the fifth and final season premiered on November 13, 2022, with the second part scheduled to premiere on November 10, 2024. Composer Brian Tyler, who once worked and performed in a Native American musical group, said he worked hard to blend his knowledge of traditional Native American music with the melting pot of western cultures in his score. “What I ended up doing was finding ways to incorporate some of the percussion, some of the woodwinds, some of the instrumentation and weave it into things like cellos, basses, cimbaloms and all these exotic instruments,” Tyler said. The package includes an insert.

Originally released on eilean rec. 10 years ago as a very limited CDr edition, "Stay / Sea" is being released on vinyl for the first time.
HolyKindOf is multi instrumentalist J. Bryan Parks from Akron, Ohio. It's a solo venture that began its current incarnation in the late spring of 2012 in a cathartic response to personal tragedy. Using dense layers of manipulated loops; primarily cello, field recordings, tape & voice. He sculpts viscerally; a requiem of repetitive phrase, culminating heady delicacies, evolving melodies & crescendo.

Each live performance is unique & written specifically for each space. With vague compositions & open ended construction -a quilt work of pieces, woven together- half written & half improvised.

Divergence and Declaration is the second album by San Francisco Bay Area Darkwave duo Vague Lanes. The album features their signature two-bass configuration, with Mike Cadoo (Gridlock) handling the melodic six-string duties. At the same time, Badger McInnes (Here We Burn) propels the music forward with his low-end four-string.
The album opener, "Heptahedron", also features drums by Martin Atkins (P.I.L., Ministry, Killing Joke). The album's title eludes to the refinement and solidification of Vague Lane's manifesto, and by utilizing a more expanded pallet than their debut album Foundation and Divergence, the duo displays confidence in their creative trajectory and the overall substance of their musical voice.

Welcome to KOKO, Lottery Winners’ most adventurous album, while also home to their most infectious songs yet. Having played to over half-a-million people at their shows in 2024 alone, it’s a captivating album which will only see that fanbase continue to grow.Short for Keep On Keeping On, KOKO’s 12 tracks include a beautiful ode to friendship, a deliriously catchy duet with Reverend And The Makers’ Jon McClure about being unhealthily obsessed with your ex, a literally escapist chantalong funk anthem, a power ballad featuring Nickelback’s Chad Kroeger, a tender song of regret, plus the most uplifting, celebratory songs about panic attacks, ADHD and being expelled from school you’ll ever hear. There’s even a dance routine. Following on from The Lottery Winners’ third album ART (Anxiety Replacement Therapy) reached No 1 in May 2023. This is set to be another big release.

To celebrate the 50th anniversary of Venus and Mars, this special vinyl edition was cut at half speed using a high-resolution transfer of the original master tapes from 1975 by Miles Showell at the legendary Abbey Road Studios. The album is presented as a meticulous reproduction of the original UK pressing, with recreations of the original “Venus and Mars are alright tonight” circular sticker and “comparative sizes of sun and planets” bookmark sticker, and comes with two posters with photography by Aubrey Powell and Sylvia de Swaan. The iconic album artwork by Hipgnosis has been meticulously recreated and presented in a gatefold sleeve.

Celebrate 50 years of RUSH with their first-ever complete career anthology. . Igniting the experience are the very first two singles “Not Fade Away” and “You Can’t Fight It” remastered & reissued for the first time ever. The collection showcases 7 unreleased tracks including five 1974 live selections with the non-album songs “Bad Boy” and “Garden Road,” a Vault Edition of “The Trees” with an alternate guitar solo, and the very last performance with Neil Peart in Los Angeles on August 1, 2015 of “What You’re Doing / Working Man / Garden Road.” The 104-page hardcover book features new Hugh Syme 50th anniversary artwork along with stunning new song illustrations, photos and liner notes by renowned rock journalists David Fricke and Philip Wilding..

50 tracks on 7 180g LPs featuring selections from every studio, live and deluxe reissue album

Selena Gomez and Benny Blanco team up to release their first project as a couple, "I Said I Love You First" set to be released on March 21st via SMG Music LLC & Friends Keep Secrets under exclusive license to Interscope Records. The album celebrates the pair's love story, giving fans a unique window into their relationship. This album came together organically as a direct result of the comfort that they both felt when working together creatively, allowing them to produce art that authentically reflects their experiences. It chronicles their entire story - before they met, falling in love, and looking to what the future holds.

It has been over a decade since Anthony Mills created Wildcookie, his most celebrated project. With tracks like Heroine and Serious Drug, the album Cookie Dough gained worldwide recognition, landing on numerous radio playlists, including Gilles Peterson’s show. Even after all these years, it remains a favorite on streaming platforms. Now, fourteen years later, Mills returns, teaming up with Marek “Latarnik” Pędziwiatr to create Crack Rock—a bold evolution of Wildcookie’s legacy.
While Wildcookie’s signature warm, jazzy Fender Rhodes sound defined its identity, Crack Rock shifts toward 1980s-inspired compositions crafted by Pędziwiatr, known for his work with EABS, Błoto, and Zima Stulecia. The duo explored yacht rock, drawing inspiration from Fleetwood Mac and Michael McDonald, maintaining the genre’s clean vocals and catchy melodies. However, their experimental spirit pushed the sound further, distorting the polished yacht rock aesthetic—leading to Crack Rock, a clever wordplay reflecting both the music and its themes.
Anthony Mills is known for layered wordplay, and the album’s name nods to deeper personal struggles. “I listened to the song Crack on repeat—it brought me to tears. Growing up in the crack era was painful. The PTSD I endured is now a powerful source of inspiration.” This raw emotional backdrop adds an edge to Crack Rock’s themes of love and human relationships—what Mills calls “cold love”: alluring, grand, yet ultimately destructive. Like an addiction, you keep coming back for more.
This idea of addiction shapes the duo’s sonic exploration—beneath the catchy melodies lie deeper, pain-laden themes wrapped in metaphor. “I see this album as therapy, a testament to the magic we create in the studio,” says Pędziwiatr. “Our process is a mix of musical mastery and deep conversations about life. For me, it feels like soul cleansing.

After digging deep into the overwhelming archives of Discos Fuentes and Codiscos in our previous volumes, this third instalment in the series "Cumbia Cumbia Cumbia!!!" comprises a selection of 28 Peruvian cumbia bangers for the dance floor from the deep vaults of Discos MAG, all of them originally released between 1964 and 1987. "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. MAG had released porros since the label was set up, and by 1957 it was already selling records by the Colombian Lucho Bermúdez, a leading figure in porro and cumbia in orchestra format, from Buenos Aires. Colombian cumbia has come a long way in Peru since those years and put down its own roots, just as it has in other Latin American countries. This third volume of the series "Cumbia, cumbia, cumbia" demonstrates how the rhythm has persisted over three decades of Peruvian recordings, ranging from versions by orchestras and ensembles to original cumbias with electric guitars, with lingering echoes of Caracas-born Hugo Blanco, Tulio Enrique León, Los Teen Agers and Amparito Jiménez. These records were played nonstop in the Peruvian coast, mountains and jungle to the cry of "¡que sigue la cumbia!". Double vinyl LP!