For the quartet led by NIGHTRAGE frontman Konstantinos Togas, 2025 is shaping up to be a stellar year. In February, Greek progressive metallers HERTA toured Eastern Europe. On May 2, 2025, the playful Athens-based group will release their debut album, “Crossing The Illusion” (LIFEFORCE RECORDS). HERTA’s sound is characterized by groove- and rhythm-driven compositions that continually offer surprises and fresh impressions. Despite the complexity and technical prowess of their music, the songs remain accessible and catchy. The band’s keen sense of atmosphere and melody shines through, creating ten eventful tracks that captivate listeners from start to finish. “Crossing The Illusion” immediately enchants with its sophisticated creativity. The band delivers impressively majestic songs that blend heaviness and pathos in a compelling mix. Guest appearances by Sakis Tolis (ROTTING CHRIST) and George Prokopiou (POEM/MOTHER OF MILLIONS) further attest to HERTA’s approach to expanding the variability and complexity of their prog metal continuously. The album was produced and mixed by Fotis Benardo at Devasoundz Studios and mastered by Johann Meyer at Silver Cord Studios. FFO: GOJIRA, LAMB OF GOD, MASTODON and MACHINE HEAD
f You Asked For A Picture', das zweite Album von Sabrina Teitelbaum alias Blondshell, ist ein triumphales Album, das den unabschließbaren Prozess der Selbstfindung einfängt. Zu klug, um eine endgültige Antwort zu geben. Wie auch schon auf ihrem 2023 erschienenen selbstbetitelten Debütalbum angedeutet, dessen Eigenwilligkeit, Selbsterforschung und lässiger Humor sie zu einer der am meisten gefeierten neuen Künstlerinnen der letzten Zeit gemacht haben, strotzt das Album nur so vor Dringlichkeit, Ambition und zerstörerischer Kraft.
"Kein Hinterfragen, kein Überdenken. Ich möchte mein Leben so leben, dass ich die Dinge tue, die mir wichtig sind, und ich denke, dass jeder so leben sollte", sagt Mei Semones über ihr gestärktes Selbstvertrauen. Die 24-jährige Songwriterin und Gitarristin aus Brooklyn hat sich durch die kontinuierliche Verfeinerung ihrer unverwechselbaren Mischung aus Indierock, Bossa Nova, Jazz und Kammerpop, die ihre technischen Fähigkeiten auf der Gitarre unterstreicht, schnell als innovative musikalische Kraft etabliert. Seit der Veröffentlichung ihrer hochgelobten "Kabutomushi"-EP im Jahr 2024, einer Reihe von üppig instrumentierten Reflexionen über die Liebe in ihren vielen Phasen, ist Mei ausgiebig durch die USA getourt, hat sich dort eine treue Fangemeinde aufgebaut und ihr mit Spannung erwartetes Debütalbum "Animaru" geschrieben und aufgenommen. Animaru bedeutet ,Tier' auf Japanisch und ist die Verkörperung von Meis tieferem Vertrauen in ihre Instinkte - eine Sammlung von musikalisch beeindruckenden Tracks, die Mei abenteuerlicher, verletzlicher und selbstbewusster klingen lassen als je zuvor. Meis neues Selbstbewusstsein ist zum Teil auf die Erfahrungen des vergangenen Jahres zurückzuführen, denn 2024 war ein Jahr der Veränderung für die Band Mei Semones. Sie traten unter anderem mit Liana Flores, Elephant Gym und Kara Jackson auf, und Mei ging dazu über, Vollzeit Musik zu machen. Inmitten der häufigen Tourneen nahmen Mei und ihre fünfköpfige Band das Album im Sommer 2024 in der Ashlawn Recording Company auf, einem Farmstudio in Connecticut, das von ihrem Freund Charles Dahlke betrieben wird. Zu diesen Sessions brachte sie eine Reihe von Stücken mit, die, nicht anders als Kabutomushi, raffinierte Erklärungen einer nicht-romantischen Liebe sind: Liebe zum Leben ("Dumb Feeling"), Liebe zur Familie ("Zarigani"), Liebe zur Musik und zu ihrer Gitarre ("Tora Moyo"). Animaru veranschaulicht Meis bezaubernde Bandbreite als Songwriterin und Musikerin und enthält einige der anspruchsvollsten und einfachsten Lieder, die Mei je geschrieben hat. Die schlichteren Momente auf Animaru sind ebenso fesselnd wie wenn Mei auf der Gitarre schreddert oder ihre Bandkollegen ein kompliziertes Arrangement ausführen. "Donguri", eine reduzierte Jazz-Duo-Performance zwischen Akustikgitarre und Kontrabass, ist der einfachste Song, den Mei je geschrieben hat. Er wird von Mei zum Leben erweckt, indem sie auf süße Weise (meist auf Japanisch) beschreibt, wie sie sich das Leben als Waldbewohner vorstellt. Das vorletzte Stück des Albums, das helle, spritzige "Zarigani", ist eine nostalgische Liebeserklärung an ihre Zwillingsschwester, in der Mei singt: "We'll always have each other / I love you like my guitar / I love you like no other". Obwohl "Animaru" ein Statement für Meis Autonomie und Selbstvertrauen an diesem Punkt in ihrem Leben ist, sind es die verschiedenen Lieben, mit denen sie sich umgibt - ihre Familie, ihre Freunde, ihre Band, ihre Musik - die sie dazu befähigen, Dinge zu tun, die sie sich wünscht.
"Kein Hinterfragen, kein Überdenken. Ich möchte mein Leben so leben, dass ich die Dinge tue, die mir wichtig sind, und ich denke, dass jeder so leben sollte", sagt Mei Semones über ihr gestärktes Selbstvertrauen. Die 24-jährige Songwriterin und Gitarristin aus Brooklyn hat sich durch die kontinuierliche Verfeinerung ihrer unverwechselbaren Mischung aus Indierock, Bossa Nova, Jazz und Kammerpop, die ihre technischen Fähigkeiten auf der Gitarre unterstreicht, schnell als innovative musikalische Kraft etabliert. Seit der Veröffentlichung ihrer hochgelobten "Kabutomushi"-EP im Jahr 2024, einer Reihe von üppig instrumentierten Reflexionen über die Liebe in ihren vielen Phasen, ist Mei ausgiebig durch die USA getourt, hat sich dort eine treue Fangemeinde aufgebaut und ihr mit Spannung erwartetes Debütalbum "Animaru" geschrieben und aufgenommen. Animaru bedeutet ,Tier' auf Japanisch und ist die Verkörperung von Meis tieferem Vertrauen in ihre Instinkte - eine Sammlung von musikalisch beeindruckenden Tracks, die Mei abenteuerlicher, verletzlicher und selbstbewusster klingen lassen als je zuvor. Meis neues Selbstbewusstsein ist zum Teil auf die Erfahrungen des vergangenen Jahres zurückzuführen, denn 2024 war ein Jahr der Veränderung für die Band Mei Semones. Sie traten unter anderem mit Liana Flores, Elephant Gym und Kara Jackson auf, und Mei ging dazu über, Vollzeit Musik zu machen. Inmitten der häufigen Tourneen nahmen Mei und ihre fünfköpfige Band das Album im Sommer 2024 in der Ashlawn Recording Company auf, einem Farmstudio in Connecticut, das von ihrem Freund Charles Dahlke betrieben wird. Zu diesen Sessions brachte sie eine Reihe von Stücken mit, die, nicht anders als Kabutomushi, raffinierte Erklärungen einer nicht-romantischen Liebe sind: Liebe zum Leben ("Dumb Feeling"), Liebe zur Familie ("Zarigani"), Liebe zur Musik und zu ihrer Gitarre ("Tora Moyo"). Animaru veranschaulicht Meis bezaubernde Bandbreite als Songwriterin und Musikerin und enthält einige der anspruchsvollsten und einfachsten Lieder, die Mei je geschrieben hat. Die schlichteren Momente auf Animaru sind ebenso fesselnd wie wenn Mei auf der Gitarre schreddert oder ihre Bandkollegen ein kompliziertes Arrangement ausführen. "Donguri", eine reduzierte Jazz-Duo-Performance zwischen Akustikgitarre und Kontrabass, ist der einfachste Song, den Mei je geschrieben hat. Er wird von Mei zum Leben erweckt, indem sie auf süße Weise (meist auf Japanisch) beschreibt, wie sie sich das Leben als Waldbewohner vorstellt. Das vorletzte Stück des Albums, das helle, spritzige "Zarigani", ist eine nostalgische Liebeserklärung an ihre Zwillingsschwester, in der Mei singt: "We'll always have each other / I love you like my guitar / I love you like no other". Obwohl "Animaru" ein Statement für Meis Autonomie und Selbstvertrauen an diesem Punkt in ihrem Leben ist, sind es die verschiedenen Lieben, mit denen sie sich umgibt - ihre Familie, ihre Freunde, ihre Band, ihre Musik - die sie dazu befähigen, Dinge zu tun, die sie sich wünscht.
Mit 'Ten Crowns' schlägt Andy Bell (Erasure) ein neues Kapitel auf - kraftvoll, verspielt und zutiefst persönlich. Das Soloalbum umfasst zehn brandneue Songs, in denen Bell seine Liebe zu tanzbarem, emotionalem Pop voll auslebt. Gospel-Vibes treffen auf Dancefloor-Glitzer, mitreißende Hooks auf feinfühlige Melodien - eine berauschende Mischung, die sich gleichzeitig frisch und vertraut anfühlt.
Produziert vom Grammy-prämierten DJ, Remixer und Produzenten Dave Audé (u. a. Beyoncé, Lady Gaga), entfaltet 'Ten Crowns' eine strahlende Klangwelt, die Andy Bells Stimme in all ihrer emotionalen Bandbreite glänzen lässt. Audé war dabei nicht nur für den Sound verantwortlich, sondern auch als Co-Autor tief in den kreativen Prozess eingebunden.
Ein besonderes Highlight: Die Kollaboration mit Andy Bells langjährigem Idol Debbie Harry - ein generationsübergreifendes Pop-Treffen mit Gänsehautmomenten.
Andy Bell ist seit Jahrzehnten eine der markantesten Stimmen des internationalen Pop. Mit Erasure, einem der erfolgreichsten und einflussreichsten Synthpop-Duos aller Zeiten, hat er Musikgeschichte geschrieben. Über 25 Alben, unzählige Hits wie 'A Little Respect', 'Always' oder 'Love To Hate You' - und ein 40-jähriges Bandjubiläum, das 2026 gefeiert wird. Mit 'Ten Crowns' beweist Bell nun erneut, dass große Popmusik keine Frage des Alters, sondern der Haltung ist.
Oi Va Voi verbinden Dance-Grooves, Singer/Songwriter-Sensibilitäten und kosmopolitische Rhythmen aus Osteuropa und Nahost. Trotz (oder gerade wegen) der zerrissenen Zeiten strahlt ihr neues Album "The Water's Edge" Optimismus aus und weckt Erinnerungen an ihr bahnbrechendes Debüt "Laughter Through Tears" (BBC World Music Award, NYT Top 10 Alben 2003). Oi Va Voi sind bekannt für prominente Kollaborationen wie mit KT Tunstall, Bridgette Amofah (Rudimental) oder der Violinistin Anna Phoebe. "The Water's Edge" wurde zum Teil von Mike Spencer (Rudimental, Tom Walker, Ellie Goulding) produziert und erscheint auf dem eigenen Label Parallel Skies. Es ignoriert Kategorisierungen zugunsten dauerhafter musikalischer und sozialer Werte und ist ein Ausdruck der Notwendigkeit, Spaltungen hinter sich zu lassen und eine gemeinsame Menschlichkeit zu finden.
Oi Va Voi fuse dance grooves, singer-songwriter sensitivity and a rock’n’roll sensibility with the group’s Jewish cultural heritage and a cosmopolitan rhythmic inspiration drawn from Eastern Europe, the Middle East and beyond. Despite the fractured times we are living in, a theme of optimism through pain is there throughout Oi Va Voi’s new album ‘The Waters Edge’.
We’re reminded of the title of the breakthrough first album, Laughter Through Tears. The Bacon & Quarmby-produced debut won a BBC World Music Award, was listed as a New York Times Top Ten Album Of The Year, and launched the career of a young KT Tunstall. The tradition of world-class musicianship continued with Bridgette Amofah (Rudimental) as the featured vocalist on Travelling the Face of The Globe, and noted violinist Anna Phoebe, who recorded and performed with the band for over a decade.
Every member evolves the Oi Va Voi sound; but through each change, the core themes and vision have remained constant. 2018’s album, Memory Drop, introduced the unique voice of Zohara Niddam, and it’s Zohara who returns here on The Water’s Edge, featuring on ‘Shine A Light’, ‘Lay Your Head’ and ‘Wave’. Also featuring across the new album is composer, violinist and singer Sarah Anderson, who co-wrote seven tracks on the album, with her emotionally poignant lyrics, evocative layered vocals and uplifting violin parts. Guitarist John Matts and Trumpeter David Orchant also return, with Orchant bringing deep colour and expression to the stirring waltz ‘Oceans’.
The album opener ‘Sad Dance’ was written after the devastating earthquake that struck Turkey and Syria in early 2023 impacting many of the band’s friends, fans and colleagues. Finding themselves in the studio the day after the tragedy, the band searched for ways to respond. Sarah’’s mournful, pulsating violins create an ever evolving soundscape on top of which her own vocal, and Steve’s earthy clarinet express sorrow and hope. Says Sarah - “It’s about human connection - a metaphorical hand held through trauma, and the preservation of ‘old worlds’ through relics, reminding us of where we came from”.
‘Shine a Light’ was also a chance to welcome back producer Mike Spencer (Rudimental, Tom Walker, Ellie Goulding), who produced their second album. Here his Pop experience can be felt in the hooky dance loop, which you can hear becoming one of Oi Va Voi’s trademark live encores. Along with the melodic pop sheen of ‘Lay Your Head’, this song shows the band in an uplifting mood, pointing at the years of high-energy tours which have become their signature. These tracks, and the poignant ‘Josephine’, offer a release - a more escapist mood and a sign of the hope underneath everything.
Oi Va Voi have never been easy to categorise, and they’ve made a point of ignoring genre in favour of more enduring musical and social values. The Water’s Edge is the first album to be released on the band’s own Parallel Skies label, which will sign artists from a diversity of cultures, nations and musics in the coming years. The album title refers to an old custom from the Jewish New Year of going down to the waterside - casting off the baggage of the past, and letting it wash away on the tide. As the first release on this label it’s an expression of the need to put divisions behind us, and find a shared humanity.
Bacao Rhythm & Steel Band, das mysteriöse Steel-Pan-Outfit aus Hamburg, machte 2024 von sich reden, als der französische Film „Anatomy of a Fall“ einen Oscar für das beste Originaldrehbuch gewann. Bacaos Cover von 50 Cents „PIMP“ war prominent in dem Film vertreten und spielte eine so große Rolle in der Handlung, dass es zum Synonym für den Erfolg des Films wurde. Später sorgten sie dafür, dass bei der Oscar-Verleihung zum ersten Mal Steel Pans im Orchestergraben auftauchten, um die Melodie zu spielen, als die Regisseurin Justine Triet die Bühne betrat, um den Preis entgegenzunehmen. All dies brachte Bacao eine Menge neuer Fans und ließ die Streaming-Zahlen von „PIMP“ auf weit über 40 Millionen steigen. Der Song erschien erstmals 2008 auf dem eigenen Mocambo-Imprint von Bandleader Bjorn Wagner und wird oft mit dem Original-Sample verwechselt, aus dem 50 Cent seinen Hit gemacht hat. Abgesehen von den Auszeichnungen und internationalem Ruhm ist „PIMP“ buchstäblich nur die Spitze des Eisbergs von Bacao. Mit vier Alben und einem großen Stapel 7"-Singles, die zu Grundnahrungsmitteln für DJs auf der ganzen Welt geworden sind, sind sie, seit sie bei Big Crown unter Vertrag stehen, sehr produktiv gewesen. Trotz der ständigen Veröffentlichungen und des umfangreichen Katalogs hat jede Aufnahmesession mehr Früchte getragen, als auf ein Album passen, so dass mehr als nur eine Handvoll Songs im Tresor lagert. „Big Crown Vaults Vol. 4“ gibt den meisten dieser Stücke eine angemessene Pressung und Veröffentlichung. Das Album beginnt mit ihrer Coverversion des Bob James Klassikers „Nautilus“, ein „Must Have“ für alle Hip-Hop- und Breakbeat-Fans. Sie bleiben auf dem Gaspedal und geben dem Khruangbin-Klassiker „Maria También“ die BRSB-Behandlung mit ihren charakteristischen basslastigen Drums, die die Energie des Stücks in eine völlig neue Dimension bringen. Berühmt dafür, bei der Neuinterpretation von Material tief in den Kisten zu wühlen, nehmen sie sich als nächstes den von J Dilla produzierten Royce Da 5'9"' Track ‚Let's Grow‘ vor. Dann gibt es „PIMP (Version)“, ursprünglich die B-Seite der Erstpressung von „PIMP“, auf der sie ihrer Originalaufnahme eine ordentliche Dub-Behandlung mit Melodica und Bandecho verpassen. Sie erhöhen das Tempo und den Funk mit „Great To Be Here“ von den Jackson 5 und tauchen mit dem Billy-Jones-Tanzflächenbrenner „Lookout Baby (Here I Come)“ wieder tief in die Dunkelheit ein. Während ein Teil des Reizes eines neuen Bacao Rhythm & Steel Band-Albums darin besteht, herauszufinden, welche Coversongs sie aufnehmen werden, ist es ebenso faszinierend zu sehen, welche originellen Melodien sie ausgearbeitet haben. „BCR Vaults Vol. 4“ enthält zwar nur ein einziges Original, „Kaiso Noir“, aber es ist ein Up-Tempo-Kracher, der wie eine Mischung aus einem B-Boy-Break und einem James-Bond-Score klingt. Diese Sammlung von Songs umfasst den Zeitraum von 2008 bis 2023 und lässt eine Vielzahl von Genres von Hip-Hop über Jazz bis hin zu Soul und Pop durch die Bacao-Linse laufen. Die Band arbeitet bereits an ihrem 5. Studioalbum, und diese Zusammenstellung dürfte die perfekte Überbrückung für die Fans sein, bis es erscheint.
Lael Neale's minimalist drone pop draws inspiration from the Transcendentalists, the alienation of modern life, and a rich array of musical influences-ranging from Dionne Warwick and John Lennon to primitive American gospel and Spacemen 3. Her expansive new record, Altogether Stranger, due May 2, was written and recorded in the early morning quiet of Los Angeles. Clocking in at just 32 minutes, the 9-song LP covers an unexpected breadth of musical and lyrical terrain-from garage rock nursery rhymes and creation myths to Motorik dance dirges and solitary Omnichord meditations. A brilliant lyricist, Neale has a unique ability to uncover the extraordinary within the mundane, tackling themes of polarity that recur throughout her work-country vs. city, humanity vs. technology, isolation vs. society. This album is her third collaboration with producer Guy Blakeslee who helps expand the tonal palette while staying true to Neale's commitment to the raw immediacy and hand-made intimacy of home recording. Altogether Stranger - a stunning album filled with dreamlike reverie, Neale's crystalline voice, and echoes of the Velvet Underground - was conceived after four years of oscillating between rural solitude and urban chaos. It finds Neale perched at the piano in a hilltop bungalow, looking down on a rare curve of Sunset Blvd. Here, in this daily ritual of writing, singing, and painting-what David Lynch referred to as "the Art Life"-she creates the space for her most adventurous work to date. Born and raised in Virginia's idyllic countryside, Neale brought the high-lonesome sound of her home state with her when she moved to California to pursue music. After years of writing songs on guitar and playing small venues in Los Angeles, she discovered the Omnichord in 2019, which sparked a new creative direction. This led to her 2021 Sub Pop debut album, Acquainted With Night. That album's 2023 follow-up, Star Eaters Delight, deepened the collaboration with Blakeslee, infusing minimalist soundscapes with a heightened electric energy. The album found a devoted audience, and Neale's subsequent tour included sold-out shows in Los Angeles, New York City, London, and Paris, multiple trips across Europe, and a West Coast run supporting kindred spirit Weyes Blood. This marked yet another return to Los Angeles. Indeed, Los Angeles is not just the backdrop of Altogether Stranger but a lead character. The album's accompanying film - created with Neale's faithful Sony Handycam - builds on her ongoing series of videos, telling the story of Neale as an alien in a suit of mirrors stranded on Earth. Wandering through modern-day LA, she finds both absurdity and beauty in our fragile, untenable way of life. Over the long year it took to write Altogether Stranger, Neale vacillated between childlike optimism and existential melancholy. While she may not have been able to reconcile these opposing states, Altogether Stranger represents an ambitious breakthrough for this singular, self-sufficient artist.
"Club Méduse’s Charles Bals joins forces with Norman Gervais of Bayetë fame to deliver a 10-track melange of languorous seaside serenades and beach-kissed AOR slow burners/bangers.
Each song evokes wave glimmer and synthetic textures on this first drop by Beirut-via-Saint Tropez label Pocket of Light, one for the listener that’s crossed the last frontier of the registry and needs just a little more.
Is it the Baleares or the Caribbean? Is it hopeful anguish or mature happiness? And with captains like this, does it matter at all…?”
out of Stock
Last delivered 15 months ago available to reorder, subject to availability
Widely regarded as one of the foremost songwriters of her generation or any other, Suzanne Vega is sharing her first studio album of new songs in eleven years. "Each song on Flying With Angels takes place in an atmosphere of struggle", Vega notes, "struggle to survive, to speak, to dominate, to win, to escape, to help someone else, or just live".
Widely regarded as one of the foremost songwriters of her generation or any other, Suzanne Vega is sharing her first studio album of new songs in eleven years. "Each song on Flying With Angels takes place in an atmosphere of struggle", Vega notes, "struggle to survive, to speak, to dominate, to win, to escape, to help someone else, or just live".
Das Album "The Scholars" spielt auf dem fiktiven Campus der Parnassus Universität. Die Songs des Albums erzählen von Studierenden und Dozierenden sowie deren Erlebnissen als lose Erzählung über Leben, Tod und Wiedergeburt. Die erste Single "Gethsemane" gibt einen Vorgeschmack auf die spirituelle Reise, die das komplette Album prägt. Im Mai 2020 veröffentlichten Car Seat Headrest (Sänger Will Toledo, Gitarrist Ethan Ives, Schlagzeuger Andrew Katz und Bassist Seth Dalby) ihr experimentelles, beatlastiges Album "Making a Door Less Open" - just in dem Moment, als die Welt zum Stillstand kam. Die darauffolgende Phase der erzwungenen Pause zog sich über Jahre. Als sie 2022 endlich wieder auf Tour gehen konnten, waren sie überrascht und erfreut, dass ihr Publikum jünger war als je zuvor. Dank des unerwarteten viralen Erfolgs von "It"s Only Sex" und "Sober to Death" hatte eine neue Generation ihre Coming-of-Age-Klassiker "Teens of Denial" und "Twin Fantasy" für sich entdeckt. "The Scholars" wurde von Toledo produziert und größtenteils analog aufgenommen. Für die Lyrics und die erzählerische Struktur ließ sich Toledo durch Klassiker inspirieren - von Shakespeare über Mozart bis hin zu Opernmusik. Musikalisch orientiert sich "The Scholars" behutsam an großen Rock-Opern und Konzeptalben wie "Tommy" von The Who oder "Ziggy Stardust" von David Bowie. Die erste Albumhälfte dreht sich um Studierende und ihre spirituellen und persönlichen Krisen, während die zweite Hälfte von einer epischen Auseinandersetzung zwischen Tradition und Aufbruch handelt. "Ein Problem vieler Rock-Opern ist, dass die einzelnen Songs der Story untergeordnet werden und dadurch weniger für sich stehen", sagt Toledo. "Ich wollte einen Mittelweg finden, bei dem jeder Song als eigenständiger Charakter funktioniert - als würde er auf die Bühne treten und seinen großen Moment haben." Auf Sound lag diesmal ein besonderer Fokus. Ethan Ives übernahm eine aktivere Rolle in der Soundgestaltung, was zu einer dichten, vielschichtigen Produktion führte. Neben Stücken wie dem 19-minütigen "Planet Desperation" enthält das Album auch eingängige Songs wie "The Catastrophe (Good Luck With That Man)", das an den Folk-Pop der 60er Jahre erinnert. Car Seat Headrest sehen in "The Scholars" eine neue Ära ihrer Bandgeschichte, die weit über die Anfänge des ehemaligen Soloprojekts hinausgewachsen ist. Das Album erscheint als CD und auf Vinyl als Doppel-LP mit 28-seitigem Booklet.
One of clubland’s most unmistakable and loved duos, Steffi & Virginia present a new album of upfront house music, Patterns of Vibration.
Eight gracefully-driven songs stretch out from the hazy fog of the dancefloor to the sun-drenched future decades of house, offering a glimpse into the rich heritage and distinct forward momentum of the two artists.
With their first productions dating back to 2010 the pair continue on a long-lasting journey together as creators and partners. Their debut, Reasons, was quickly followed by the seminal Yours on Ostgut Ton - the blueprint for their trademark sound, embedding gorgeous vocal hooks within luxuriant, weighty club tracks.
In their own words, “a celebration of joyful moments,” Patterns of Vibration was put together over a three month period of intensive work and play. The pair immersed themselves in the daily ritual of putting down ideas at their Candy Mountain studio in the Portuguese countryside. At the same time Steffi’s 50th birthday celebrations fueled their creative fires, reconnecting with old friends and tapping into a deep love for those ecstatic moments of freedom and unity, soundtracked by house music.
In no time a huge folder of ideas amassed and they set about selecting the purest, stand-out signals with the motto, “let the positivity shine through!” It’s been a process that has gifted the two artists with energy and perspective as they continue on their unique path.
With the spirit of the fierce night streaming through on every track, this album marks a bright new chapter in the duo’s story - channeling that special potion of emotional vibrations found when music, dance, friends and lovers meet.
Thanks to countless hours behind the decks at their Berghain / Panorama Bar residencies and global touring, the album glistens with an ageless urgency and a straight-to-club core. That driving, early morning pulse is mirrored by a deft skill for conjuring arresting electronic hymns; transmitting their passion and collective years together on the road, in clubs, in the studio, and at home.
From the moody tribalism of lead single Nightflight, to the chord-led heaven of Stab Stealer, or the tracky 7 In The Morning, Steffi & Virginia’s partnership is alive with the essential throb of a movement that continues to blossom as it enters its 4th decade.
Virginia’s jubilant vocal hooks are front and centre on every track, enriched with Steffi’s precision analogue bump. Punchy and direct kick drums carry jacking snares and interwoven synth stabs. Perfectly placed basslines massage the low-end, leaving plenty of space for Virginia’s vivescent vocals.
A homogenous sonic code is woven throughout, as Virginia’s voice provides not only the soaring leading lines but also the “ornaments and tentacles” of each track, with percussive details and micro-elements melting into the grooves of every cut.
Steffi & Virginia’s house music is the stuff of folklore. Patterns of Vibration weaves a narrative through a record crate full of emotions, a forever-chorus calling out through the night, till the earthy glow of the new dawn.
out of Stock
Last delivered 14 months ago available to reorder, subject to availability
Canadian punk stalwart Propagandhi, are set to unleash their latest opus, At Peace, on May 2, 2025. Known for their incisive political commentary and genre-blurring soundscapes, the band continues to challenge both the status quo and their own musical boundaries. At Peace promises a fusion of their signature punk ethos with progressive elements, delivering a sonic assault that"s as thought-provoking as it is relentless. As the follow-up to 2017"s Victory Lap, this album is poised to reaffirm Propagandhi"s place at the forefront of politically charged punk rock.
Canadian punk stalwart Propagandhi, are set to unleash their latest opus, At Peace, on May 2, 2025. Known for their incisive political commentary and genre-blurring soundscapes, the band continues to challenge both the status quo and their own musical boundaries. At Peace promises a fusion of their signature punk ethos with progressive elements, delivering a sonic assault that"s as thought-provoking as it is relentless. As the follow-up to 2017"s Victory Lap, this album is poised to reaffirm Propagandhi"s place at the forefront of politically charged punk rock.
Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.
Ltd. Fruit Punch Vinyl. Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.
Arriving as a standout group in the current American shoegaze renaissance, Phoenix four-piece Glixen transcend all expectations of what the genre should currently look and sound like. The band creates a profoundly heavy sonic experience with their music, paying respects to their predecessors but resulting in something completely modern. An amalgamation of influences like Björk, My Bloody Valentine, Godflesh, t.A.T.u, and Hum, their sound crawls with intensity and introspection to contrast lead singer Aislinn Ritchie's lulling vocals. Ritchie, began the project in 2020 enlisting guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia. Their approach to music has landed them on expansive tours and shows with rock music titans and contemporaries alike, supporting acts like Interpol, DIIV, Narrow Head and Nothing. Glixen has released a steady stream of music since their inception, with one EP and a handful of singles under their belt. She Only Said, was first released last summer with taste making Philly label Julia's War Records, bringing them to the attention of the national DIY scene. Working with producers like Jack Endino (Nirvana) and Sonny DiPerri (My Bloody Valentine, DIIV) for recent releases, this year has seen them take their sound to the next level, previewing a continuous sonic evolution.
»Carpet Of Fallen Leaves« is an introduction to the folk-pop world of Eddie Marcon. It follows in the footsteps of other collections of Japanese artists on Morr Music, such as yumbo, Andersens, and the »Minna Miteru« compilations. »Carpet Of Fallen Leaves« draws together songs from Eddie Marcon’s twenty-two-year history, including fragile, yet rich in melody material, collected from a prodigious run of limited edition, self-released CD-Rs.
Eddie Marcon is the project of Eddie Corman and Jules Marcon, who met through their involvement in Japan’s underground music scene. Eddie was a member of noise-rock duo Coa, while both Eddie and Marcon were part of psych-rock collective LSD-March. Forming in 2001, Eddie Marcon’s sound is markedly different from these groups, though they do, at times, share a sense of psychedelic dislocation, through the gentle, limpid pace of their songs. But with Eddie Marcon, melody and gentleness is at the music’s core.
They’ve long marked out their own, unique territory within a worldwide community of psych-folk and folk-pop artists; sharing their music through a subterranean network of colleagues and friends, they count groups like The Pastels and The Notwist as their fans, and Eddie has collaborated with the likes of Shintaro Sakamoto, and Aki Tsuyuko (in Tondekebana, and with Marcon and Ippei Matsui in the quartet Wasurerogusa). Eddie Marcon have also recently worked with drummer Ikuro Takahashi, who’s played with groups such as Fushitsusha, Maher Shalal Hash Baz, and Nagisa Ni Te.
Across the songs on »Carpet Of Fallen Leaves«, Eddie Marcon’s songs are performed by Eddie on guitar, organ and vocals, and Marcon on bass; they’re variously joined by Takahashi, Yojiro Tatekawa (drums), Tomoko Kageyama (vibraphone), Yasuhisa Mizutani (flute), Madoka Asakura (vocals), and Ztom Motoyama (pedal steel). The arrangements are pared back to best serve the core of each song, and the playing is gorgeous – fluent but not showy; capable of great intricacy, but aware that simplicity is key to direct communication.
Songs like »Mayonaka No Ongaku« stretch their limbs languidly, the music shivering with beauty as guitar and cymbal drift across Eddie’s poised vocal delivery. »Tora To Lion« began as an improvisation, but it’s become a firm favourite of the group’s fans: as Eddie says, »it has become a very important song for us, to the extent that it can be said to be our representative song.«
Perhaps the most moving thing about »Carpet Of Fallen Leaves«, though, is the way it captures the subtle yet significant moments of everydayness that ask for our attention. »Shoujo«, a song for a beloved cat who passed away, possesses rare emotional resonance. »At the end of the song,« Eddie remembers, »I wanted to have her throat rumbling endlessly.« When the song was cut, a television voice appeared behind the purring, saying ›thank you‹. »For us, it felt like words from Poco-chan, and tears came to our eyes.«
Depth.Request presents Lllneas' debut album, Buried Stories, a powerful 7-track odyssey through life's darkest shadows and most enlightening revelations.
This collection of works traces its origins back to 2018 when the concept of Lllneas was born. Long before the music was written, the idea and name carried the promise of an eventual catharsis, a release that would embody the untold stories and emotional complexities of its creator.
Each composition on Buried Stories weaves a vivid tapestry of experiences, shaped by contemporary events and echoes from the past. With remarkable intensity, Lllneas channels the raw emotions they evoke, transforming music into a catalyst for healing, reflection, and understanding. More than an album, Buried Stories is an unapologetic and honest expression of survival, self-acceptance, and transformation; a tribute to those who feel out of place, offering hope and validation to embrace their unique perspectives. This release marks a moment of liberation, a turning point that sheds light on an issue that deeply resonates with Lllneas: the devastating realities of domestic violence. The artist calls for courage, awareness, and immediate action, urging people to break free from cycles of abuse and fear.
Let Buried Stories inspire you to confront the untold and find freedom in your own truth.
out of Stock
Last delivered 17 months ago available to reorder, subject to availability
Autarkic is back with "Tahor", a bold sonic collage where history, nostalgia, and raw emotion collide. This limited-edition vinyl release weaves together vintage samples, archival snippets, and hypnotic beats, crafting a personal and collective memory trip.
14 tracks of euphoric highs, hazy melancholy, and wry humor.
The artist, DJ, and producer Autarkic (Nadav Spiegel) - one of the most influential underground figures in recent years and a key player in TLV electronic scene-releases a new Hebrew-language album, available as a limited-edition vinyl and on digital platforms. "Tahor" is Autarkic's sixth album and his second in Hebrew. It is entirely composed of a mosaic of samples from his personal music collection, cuts from archival recordings, and historical references that hint at events that shaped him. The result is a personal and collective memory machine - 14 tracks that take the listener on a journey through euphoric joy, subdued melancholy, and playful sarcasm.
"Tahor" is a journey that emerges from Autarkic's private consciousness, offering a sober reflection on his unwavering insistence on being an artist who neither knows nor wishes to "play the game" for popularity ultimately finding peace with himself. Throughout the album, Autarkic ventures beyond his own mind into the outside world, confronting social and political realities and adding his own musical document about life in Israel.
Karpenters, the latest album from Kool Keith, produced by Grant Shapiro, stays true to the essence of Hip-Hop: boom bap beats, clever samples, and heavyweight guest features. Hip-Hop legends like Tash (Tha Alkaholiks) and Marc Live (Analog Brothers/Black Elvis) add to the project, complementing Kool Keith’s signature eccentric flow.
This marks Kool Keith’s first official album since the cult classic Black Elvis 2—a long-awaited release for dedicated fans. The album boasts mixing by J-Styles (Keith’s in-house engineer) and mastering by Grammy winner Steve “Steve B” Baughman, ensuring top-tier sound quality.
Leading the charge is the official music video for "Super Hits," directed by Wayne Campbell—known for his work on Kool Keith’s Love Infringement and videos for artists like Benny The Butcher.
With executive production by Kool Keith and distinctive, hard-hitting beats from Grant Shapiro, Karpenters is a project fans have been craving—raw, authentic, and unforgettable.
With Ylh Bye Bye, Swiss-Moroccan producer Sami Galbi delivers a raw and electrifying debut album after the succes of his first single Dakchi Hani / Rruina. Merging North African folk, chaâbi, and trap with forward-thinking electronic club music, his punk energy and DIY ethos stem from years immersed in Lausanne’s underground squat scene, shaping a sound that’s both deeply personal and politically charged.
Driven by infectious North African melodic loops, heavy basslines, and percussive textures—blending bendir drums, karkabas, and analog synths—Ylh Bye Bye pulses with urgency. From high-energy dancefloor anthems to dreamy acid pop ballads, the album explores themes of migration, identity, and belonging. Galbi’s Arabic vocals oscillate between auto-tuned harmonies and spoken word, capturing the tensions of diaspora life.
Basing himself off the works of Cuban guitarist-composers José Angel Navarro and Hector Angulo, Italian guitarist Walter Zanetti intimately recreates sacred Afro-Cuban batá drum songs on guitar. Santería draws heavily on music for its ceremonies. This Afro-Cuban syncretic religion, sometimes called La Regla de Ocha, saw the Orisha deities of the West African Yoruba peoples codified with Catholic saints. Yoruba practitioners, brought by force to the West, continued to worship their gods under the nose of those who sought to dehumanize them by adopting their spiritual language. The chants that became Santería’s prayers were often accompanied by the beat of the batá drum. This heartbeat runs through every invocation, through every sacred song. In the same way that the shuffling chains on the feet of enslaved African peoples dancing defiantly in Colombia birthed the distinctive rhythm of cumbia, syncretism has been present in music as much as it has in religion. It has always been about challenging the odds, about creation, creativity, and heart.
Emerged from the heart of Japan’s underground scene, SCHEDARS is an incredible five piece band with an explosive sound rooted in the Post-Punk-No-Wave aesthetic. Previously self-released and now reissued on a world-wide scale, this is their first full album. A hyper-active blend of sharp singing, psychotic guitars and organs, snaky saxes, infectious bass lines and nervous drums beats.
Fans of bands like D.N.A, The Contortions, Phew or early The Ex will find themselves enthralled by SCHEDARS’ uncompromising, high-intensity approach. With this first full-length release now reaching a global audience, SCHEDARS is set to carve out a space in the international post-punk landscape, proving that the underground still has plenty of room for raw, visceral, and boundary-pushing sounds.Get ready to experience schedars—where controlled chaos meets razor-sharp musical precision.
Cenk Esens Name ist in der Londoner Jazzszene allgegenwärtig, wo er sich als gefragter Keyboarder etablierte. Der Sohn des wegweisenden türkischen Jazz-Fusion-Keyboarders Aydin Esen studierte am renommierten Berklee College of Music, zog nach London, und entwicklete sich zu einem der beeindruckendsten Pianisten der Szene, mit Auftritten u.a. im Kultclub Ronnie Scott. Nach mehreren hochgelobten Singles und seinem jüngsten Album "Chaos In The CBD", präsentiert Cenk nun sein neues Meisterwerk, die LP "Endlessly". Aufgenommen in den weltberühmten Air Studios mit den Weltklasse-Musikern MckNasty (drums) und Tom Driessler (bass), gelingt ihm ein wahrhaft fesselndes Hörerlebnis.
"The Way We Were Vol. 1" ist eine Sammlung bisher unveröffentlichter Demo-Aufnahmen aus Francis Rossis persönlichem Archiv. Das Album vereint frühe Aufnahmen für sein vielbeachtetes zweites Soloalbum "One Step At A Time" (2010) sowie Songs, die später in ihrer endgültigen Version auf einer Reihe von Status Quo-Alben erschienen sind: "Heavy Traffi c" (2002), "XS All Areas" (2004), "The Party Ain't Over Yet" (2005), "In Search Of The Fourth Chord" (2007). Francis Rossi zeigt auf diesem Album eine Vielzahl an Stilen und Ideen. Was die Songs eint, ist, dass sie in der Art und Weise präsentiert werden, in der sie zuerst entstanden sind - roh, aufrichtig und direkt aus dem Herzen vorgetragen, ohne den Einfl uss von Studioveredelung oder kommerziellen Überlegungen. Unter den 17 Songs befi nden sich mit "Scary Mary", "Why I’m Walking", "Load On My Mind", "Can’t Change The World" und "Life Has Changed" zudem fünf Tracks, die nie zuvor außerhalb des Studios zu hören waren.
The Crippled Flower was a post-punk band from Düsseldorf - and they arrived late. However, unlike many young, unsuspecting, hairsprayed hopefuls from that time, in 1985 they could sense that the end of their era was approaching. They knew too much to want to take the world by storm. They were four individualists searching their own way. Each of the band members only found their calling after the time that they had spent together – but that's exactly what makes The Crippled Flower still seem really interesting today, this static energy that does not discharge, but is simply there.
Searching dreamers should sound like that and that's what they were. Singer Phil Elston, for example, had brought his love of Kraftwerk from England to Düsseldorf. Even his bandmates found this strange, but they were also entangled in their own longings. This is because the times were still so crazy and these searchers were "on fire". A fire that glows in the band's recordings.
Listening to the songs today, The Crippled Flower sound like they are hugely at the height of their game; think of Wire, Felt, Scritti Politti or Minimal Compact. The variety of musical themes, as well as different soundscapes, which the band created can only be listened to in amazement. Often, it is only Phil Elston's Sprechgesang that confirms that this is really the same band. However, it was back in 1985 when, importantly, the catalyst that brought the musicians together - the short lived eclectic record store "Heartbeat" in Düsseldorf Bilk - occured. It was there where post-industrial and pop, melodic minimal music and sound attacks awaited those who wanted to discover music by artists and bands they did not yet know.
Cassette releases. All recorded on 4-Track. The Crippled Flower succeeded in this medium. Firstly, with a cassette just entited The Crippled Flower, working from project-like studio recorded sketches. Four more tracks from the short-lived band appeared in 1986 on "A Heartbeat Rendezvous“. A demo tape submitted to Les Disques du Crépuscule, however, did not lead to a worldwide career and so, unfortunately, it was soon over.
Stefan Krausen moved on to the follow-up project Deux Baleines Blanches with Stefan Schneider, which, in 1994, gave rise to the band Kreidler. Krausen was already drumming with the I-Burnettes on AtaTak and much later he studied painting in Munich. Nina Ahlers moved from Düsseldorf to Paris to study art, because in the 80s it was still the case that Paris was the destination of choice for those really wanting to become an artist – and that's what she did. Her work is characterized by a non-academic minimalism focusing on everyday objects. Stefan Schneider remained connected to music. Only Phil Elston, who helped sabotage fox hunts in England and wrote these observant lyrics about environmental destruction and time travel, seems to have escaped the social-media world. Whether he found Kraftwerk-fulfilment in Düsseldorf or moved on disillusioned remains a mystery to us. And somehow this also fits in with that peculiar, special band. - Oliver Tepel, Köln 2025 (Translation by Philipp Elston)
Hackney singer-songwriter Mychelle debut album Good Day is set for release on April 30 via FAMM (Maverick Sabre/Jorja Smith). In her own words "This album is inspired by the music I love to listen to, with lyrics that helped me release what wasn’t serving me.‘Good Day’ is my way of saying goodbye to the chapters in my life that created bad days.I’m incredibly grateful for every single person who played a part in bringing ‘Good Day’ to life, and for those who continue to help push it further. I’ve really enjoyed the entire process.Thank you, and have a ‘Good Day’. Raised in Stoke Newington, Mychelle grew up surrounded by music and first picked up a guitar at 10. Years later, she overcame her shyness through busking—spending over four years performing on London’s streets, where her raw and soulful delivery caught the attention of FAMM, leading to her signing.
Since her debut The Way (2021), Mychelle has released standout EPs, including Closure (2021), Someone Who Knows (2022), It’s Not You, It’s Me (2023), and Me & Gaz (2024). Her collaboration with ENNY on Forbidden Fruit has nearly 2.5 million plays, proving her ability to connect deeply with audiences. Having performed at Montreux Jazz Festival, Boardmasters, Deershed, and Michael Kiwanuka’s tour, Mychelle will soon join Jorja Smith on her UK & ERIE tour and take the stage at Across The Tracks and Mad Cool Festival in Madrid, promising an exciting summer of live performances. Beyond music, she thrives in movement—whether on the basketball court, football field, or running track—infusing energy and passion into everything she does. Good Day marks a bold new chapter, showcasing her evolution as an artist and her unwavering trust in her craft.
The Great Dismal, NOTHING’s new full-length album explores existentialist themes of isolation, extinction, and human behavior in the face of 2020’s vast wasteland. Closing in on the band’s ten-year mark, frontman Domenic Palermo finds himself stringing together songs of misanthropic tales of Philadelphia with a refined and refreshed take on NOTHING's classic sound. “The Great Dismal refers to a swamp, a brilliant natural trap where survival is custom fit to its inhabitants,” Palermo states. “The nature of its beautiful, but taxing environment and harsh conditions can’t ever really be shaken or forgotten too easily.” The ever progressive NOTHING keep true to their chaotic outlook on life, keeping a keen eye to avoid repetition. With a radical cast of talented contributors such as harpist Mary Lattimore, classical musician Shelley Weiss, and singer/songwriter/producer Alex G., The Great Dismal showcases yet another essential side of the band’s trademark American Post-Shoegaze.
Rita Donte's Ritual is more than an album-it's a journey through time, memory, and sound. Rooted in her Cuban heritage yet enriched by the landscapes and influences that have shaped her path, Ritual is a luminous fusion of tradition and innovation. With the masterful production of Gustavo Guerrero (a.k.a. Augusto Bracho), the album weaves the warmth of the tres, the depth of the leona, and the rhythmic textures of jaranas into a sonic tapestry that feels both timeless and urgent. From the infectious energy of Baila mi guaguancó to the poignant nostalgia of Habana, each track is a chapter in Rita's artistic evolution. Released by Ansonia Records, Ritual is a testament to Latin music's enduring power-a bridge between past and present, Cuba and Mexico, sound and spirit.
Last posthumous recording for Brittany's HEAD ON. Six wild tracks of danger and urgency from the sons of the great bastard known as Rawk'n' roll. For fans of the Stooges-style Radio Birdman with Jeffrey Lee Pierce, who'd be happy to pop his head in; a real gem.
ENG Mamalarky thrive in the in-between, a tri-coastal outfit straddling Atlanta, Austin, and Los Angeles, crafting a sound that feels both meticulously constructed and effortlessly unspooled. Their brand of indie rock is delightfully askew-swirling psych flourishes meet wiry guitar tangents, all anchored by tender, off-kilter hooks that burrow deep. It"s music that invites you into its strange little universe, full of inside jokes and late-night musings turned into melodic gold. Their sophomore effort, Hex Key - marking their Epitaph Records debut-lands in April, with plenty of mileage ahead as they road-test new material. A spring tour includes a run with Hinds and a stop at Treefort Music Fest, where their shape-shifting sonics will no doubt translate into hypnotic, full-bodied chaos. Formed in Austin in 2016, Mamalarky"s lineup has since scattered across time zones, but their chemistry remains unmistakable. Guitarist Livvy Bennett (formerly of Cherry Glazerr), keyboardist Michael Hunter (White Denim), drummer Dylan Hill, and bassist Noor Khan (Faye Webster"s touring bassist) operate like a band that"s spent years finishing each other"s musical sentences. Their songwriting thrives on kinetic interplay-nimble and restless, yet always landing in some deeply satisfying pocket. While indie-pop might be the easiest tag to slap on them, Mamalarky dodge the genre"s more predictable trappings. Instead of settling into breezy melancholy, they embrace complexity-knotty time signatures, rubbery basslines, and melodies that feel like they"re winking at you. It"s heady but never pretentious, the kind of music that rewards repeat listens, each spin revealing a new hidden corner.
Zoe Heselton is a British-born poet and musician based in Strasbourg, France. Alone with her Telecaster guitar, she channels her multiple and influences into flamenco-folk-blues fingerpicking techniques, carrying her voice into the strings as she spits out rhymes about change and desire. For this first album, she gathered her beloved and talented friendships around her to sing from places of tenderness and anger, balancing melodies with the band's arrangements and dissonance. Since her songs are stories, spells, poems and prayers, there additional personalities give a crafted power to regenerate from the limbs, surrounded by caretaking souls and generous love-spreading hearts. These musical gems are sea-shanties for sadness, litanies for survival, spoken word bangers for dancing our way through the darkness.
To celebrate PigsX7 new album 'Death Hilarious', Rocket have reissued the bands long out of print debut album 'Feed The Rats' onto a special three colour splatter LP, so the 2025 repress comes on orange with red coloured plus black splatter on top vinyl. Playing their first gig supporting Goat at what was only the latter's second ever show, the band have gigged relentlessly with kindred spirits including The Cosmic Dead and Luminous Bodies, not to mention gracing festivals like Supernormal and Portugal's Reverence with their feral attack. This is their overwhelming first album - equal parts righteous repetition, bludgeoning brute force and Sabbathian squalor, its alchemical charge has the power to transform bleary-eyed abandon into small-hours revelation. This three-track, forty-minute monument of chaotic catharsis captures the spirit of the band's live manifestation whilst adding a level of finesse and texture. Channelling the grimy trip of Monster Magnet's pine Of God' through a prism of kraut-derived repetition and Part Chimp style bloodymindedness, the resulting hallucinatory vortex appears constantly on the realm of breaking point.Amps and brains alike, as these psychic omnivores bring seven times the joy, seven times the pain, seven times the dementia and deliverance.
First limited-edition vinyl EP in a series of EPs to celebrate the 20th anniversary of Chinese Man and Chinese Man Records. The series kicks off with a look back at the various collaborations between Chinese Man and Tha Trickaz over the years. This EP compiles one colaboration and three Tha Trickaz remixes of CM tracks. Yellow Transparent 12" Vinyl!
Discover the groundbreaking sound of Los Texao, a legendary Peruvian rock band that helped shape the music scene in the 1970s. Born in the culturally rich city of Arequipa, Los Texao's journey to stardom was paved with innovation, passion, and an undeniable connection to their roots. Their music fused the energy of psychedelic rock with Latin American influences, captivating audiences across their native Peru, Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. This release comprises their complete recordings, including all their singles and also covers of some of the most influential rock bands of the era, most of them previously unavailable on vinyl. Formed in 1969, the band took their name from Arequipa's emblematic flower, the nasturtium, and made an immediate impact with their debut at a local band contest. Soon after, they recorded their first 45 RPM single, which included covers of tracks by Chilean group Los Beat 4. But it was in the early 70s when Los Texao truly found their voice. With a dynamic lineup, including the talented Fernando "Feño" Humbser and Juan Núñez on guitar, Víctor Dibán on vocals and bass, and Edgar "Chito" Manrique on drums, their musical evolution began to take shape. The addition of Julio Torres, a keyboardist and guitarist from the iconic bands Los Beatniks and Los Dig It, further elevated their sound. Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. They embraced the emerging trend of playing rock in English, despite the language barrier, and incorporated cutting-edge gear. With the help of the legendary Peruvian jazz musician Jaime Delgado Aparicio, they created hypnotic tracks like 'Algún día' and 'Nunca cambias,' capturing the essence of 70s rock with swirling textures and atmospheric vibes. But it wasn't just the melodies that set them apart - their electrifying rhythms and powerful arrangements, like those heard in 'Stone' and 'La pelea del gobernador,' showcased their refined musicianship and intense dedication. Los Texao quickly became a sensation in Peru, performing in cities like Puno, Moquegua, and Arica (Chile), and sharing stages with iconic bands like Los Shain's, Traffic Sound, and Telegraph Avenue. Their infamous hit 'La pelea del gobernador' tells a tale of generational conflict and rebellious youth, captured in a live performance that still resonates with audiences today. The band's wild live shows became the stuff of legend, with fans packing into intimate venues to experience the raw energy of their loud, unapologetic rock. In addition to their 45s, Los Texao also recorded covers of some of the most influential rock bands of the era, including Cream, Steppenwolf, and The Guess Who, showcasing their versatility and love for classic rock. Unfortunately, this session remained lost for years and some of these covers have never been available on vinyl before. Despite their growing success, Los Texao eventually disbanded in 1975 due to personal and professional challenges. But their legacy never faded.
Jubiläums-Reissue! Die Schwedischen Punkfolker hauten 2015 mit ihrem zweitem Album 15 dermaßen geile Melody-Kracher raus, das es nur so eine wahre Freude ist! The Sensitives kombinieren Folk, Punk, RnR / Billy teilweise mit Country- und Offbeat-Elementen zu einem wilden Mix, bei dem sowohl live als auch auf Platte sofort der Funke überspringt! Vom Geheimtipp mit unzähligen DIY Pub- & Clubshows in ganz Europa, wechseln die Schweden mit ihrem Album Dogs on the Run jetzt auf die Überholspur, schon der Opener "Kick a hole in the sky" stimmt auf die weiteren 40 Minuten vortrefflich ein nd mit "To the Punx" schafft das Trio nebenbei eine Szenehymne, die sich gewaschen hat! Der charismatische Gesang von Paulina & Martin verbunden mit einem abwechslungsreichen Songwriting zwischen schnellen Pogo-Tracks und coolen Mid-Tempo Ohrwürmern zieht sich dann auch durchs ganze Album! Das hat mehr als nur Charme, ist verdammt authentisch und der Funke springt sofort über! Man kann ohne Übertreibung sagen, dass The Sensitives eine absolute Ausnahmeband sind!! Für wen Dropkick Murphys, Gaslight Anthem oder Baboon Show keine Fremdwörter sind, für den ist diese Scheibe wie gemacht! Mehrfarbiges Vinyl!
Mannequin Pussy"s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins "Bear" Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. "There"s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ," says Dabice. "The ethos of this band has always been to bring people together." Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band"s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It"s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive. Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band"s official lineup. The band changed their entire creative formula, choosing to write together in the studio in Los Angeles with producer John Congleton , over slowly crafting tracks at home.
