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- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

The Chronicles Of Father Robin ist eine norwegische Prog-Rock-Supergruppe, deren Mitglieder von den norwegischen Symphonie-Prog-Masters Wobbler, den immer undefinierbaren Tusmørke, den erfahrenen Post-Rockern The Samuel Jackson Five und dem schwer fassbaren Prog-Juwel Jordsjø stammen. 'The Songs & Tales Of Airoea', an dem seit 30 Jahren gearbeitet wird, ist ein zusammenhängendes Dreifach-Konzeptalbum mit insgesamt 18 Songs, die über einen Zeitraum von drei Jahrzehnten in einer alternativen archaischen Welt angesiedelt sind. Die erste beiden Alben, 'Book I' & 'Book II', erscheinen nun als CD und LP. Durch lange Jam-Sessions und fein abgestimmte Arrangements entwickelte die Band ein fortlaufendes System, in dem jeder Song mit den anderen verknüpft ist. Ganzheitliche Impulsivität und Ideen, altruistische Freundschaft, Musik, Fantasien und ein schlüssiges Konzept.
Beginnend mit dem sakralen und atmosphärischen Over Westwinds führt 'Book II' weiter auf eine dynamische musikalische Reise durch üppige und abwechslungsreiche Klanglandschaften, die Visionen der goldenen Ära des Progressive Rock hervorrufen. Mit dem geschmackvollen Einsatz verschiedener Instrumente wie Flöte, Mellotron und Glockenspiel und alles verpackt in einer dynamischen und organischen Produktion, sind beide Alben Juwelen, die es für jeden Fan von Progressive Rock zu entdecken gilt.
'Book III' erscheint hoffentlich zeitnah.

A very "MGMT MGMT album" which the band describes as "a group of songs about love and change, first and foremost." Descriptors from the band include: bold, flavorful, playful, sincere, optimistic, perceptive. Loss Of Life was produced by MGMT and Patrick Wimberly (Solange, Lil Yachty, MGMT), with mixing and additional production by Dave Fridmann (Flaming Lips, Interpol, Spoon). The album includes the first ever MGMT song with a feature, courtesy Christine and the Queens. The album artwork has been licensed from John Baldessari's estate and is an artwork titled Noses & Ears, Etc. (Part Two). Formed in 2002, MGMT released their era-defining debut album Oracular Spectacular in 2007. One of the most influential albums of the '00’s - it went on to sell over 2 million copies worldwide and was certified Gold or Platinum in over 10 major territories, including double platinum in UK, Platinum in Australia, Gold in France and Platinum in the USA. It gave the world evergreen hits such as “Kids”, “Electric Feel” and “Time to Pretend” which have inspired, and continue to inspire new generations of artists and music fans alike to this day - those three songs combined have been streamed over 2 billion times on audio streaming platforms since released. Always taking an unexpected creative turn at every new record, but always maintaining their cultural and commercial relevance over the subsequent 15 years, MGMT later released three further studio albums: “Congratulations” (2010), “MGMT” (2013) and “Little Dark Age” (2018).

Im Juni 2023 wurde "Street Fighter 6" veröffentlicht und bricht seitdem Verkaufsrekorde. Nun erscheint der Hip-Hop geladene Soundtrack von Yoshiya Terayama und CAP-JAMS mit Beiträgen von Künstlern wie GRP, Shigeyuki Kameda, Daniel K. Solovitz, Chris B. Harris, Yasumasa Kitagawa, The Sound Room, Haruki Yamada und Katsuhisa Asari bei Sony Masterworks. Tauchen Sie mit diesem Sammlerstück in die Welt des Fighting Ground ein und lassen Sie sich von der musikalischen Energie von "Street Fighter 6" verzaubern! Die limitierte 4 LP-Box enthält ein 28-seitiges Art Book, eine Slipmat und ein Stickersheet.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a transparent disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a translucent, red disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a translucent, yellow disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a orange disc.

Noël Avec Elvis by Elvis Presley, released 22 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a black disc.

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

For more than 30 years, singer-songwriter and guitar hero Mary Timony has cut a distinctive path through the world of independent music, most recently as vocalist and guitarist of acclaimed garage-pop power trio Ex Hex (Merge) but also as a member of seminal postpunk band Autoclave (Dischord), celebrated leader of the deeply influential Helium (Matador), multifaceted solo artist (Matador, Lookout!, Kill Rock Stars), and a co-founder of supergroup Wild Flag (Merge). Described by Sleater-Kinney's Carrie Brownstein as "Mary Shelley with a guitar" and dubbed "a trailblazer and an innovator" by Lindsey Jordan a.k.a. Snail Mail, Timony has distinguished herself as one of her generation's most influential. Although she has remained a cult hero and critical favorite since the early '90s, Timony's many triumphs have long been counterbalanced by crippling doubt and self-nullification. Her fifth solo album, Untame the Tiger, approaches these emotions head on. Her first solo release in 15 years is a startling document of an artist fully coming into her own power during the fourth decade of her career. It is the product of lessons learned during life-altering struggle. The mystical, acoustic-driven Untame the Tiger emerged after the dissolution of a long-term relationship and was bookended by the deaths of Timony's father and mother. The album was recorded during a two-year period during which she was the primary caregiver for her ailing parents. The tectonic psychic shift Mary experienced due to this loss informs many of her lyrics. Standout track "No Thirds" "is a song about losing everything and having to keep on going," says Timony. "I wanted the verses to sound like a wide-open barren space, like driving across a desert, because that is what the song is about - losing people and the feeling that your future is a giant, wide-open blank space." The stripped-back acoustic instrumentation of "The Guest" conjures Sweetheart-era Byrds. Timony describes it as a song sung directly to loneliness: "I was imagining loneliness as a house guest who keeps knocking on your door. I thought it would be funny to say loneliness is the only one who always comes back." Untame the Tiger does not eschew Timony's guitar hero reputation; in fact, "Summer" relishes in it, a straight-up banger that you'd be half tempted to call "no frills" until its initial garage rock stomp breaks into the unexpected bliss of a twin guitar solo conclusion. "I wanted the recording to have the energy of the Kinks, early Dio and Elf, or Rory Gallagher," she explains. "I was also listening to a lot of Gerry Rafferty's first solo album and was inspired to have two simultaneous guitar solos." Untame the Tiger picks up the thread woven through Timony's freak-folk-anticipating solo albums of the early '00s. Basic tracks were recorded at Studio 606 in Los Angeles, with Timony backed by Dave Mattacks, drummer of legendary British folk-rock band Fairport Convention. "Mattacks is a hero of mine and one of my favorite musicians of all time. He is a true legend. I never in a million years thought he'd agree to play on my record," says Timony. "Before the session, I had a panic attack and had to go sit alone in the parking lot_ Once we started playing together, it felt so great that the fear subsided and turned into excitement. His playing felt instantly familiar, which makes sense because it's the foundation of many of my favorite records." Untame the Tiger was produced by Mary Timony, Joe Wong, and Dennis Kane. The album was recorded over the course of two years at Studio 606, Magpie Cage, 38North, and in Mary's basement Additional engineering by J. Robbins (Jawbox, Burning Airlines). Musicians include Chad Molter (Faraquet, Medications), David Christian (Karen O, Hospitality), and Brian Betancourt (Cass McCombs, Devendra Banhart, Hospitality). The album was mixed by Dave Fridmann (MGMT, The Flaming Lips, Mercury Rev), Dennis Kane, and John Agnello (Dinosaur Jr., Kurt Vile, Waxahatchee).

Les Disques du Crepuscule presents a unique anthology by artful Brussels postpunk-funk band Marine, fondly remembered for their dazzling debut single ‘Life In Reverse’ in 1981, and now back with a clutch of brand new studio tracks.

The cover art is by LDDC art director Benoit Hennebert and based on the ‘Same Beat’ single sleeve from 1982. The vinyl edition s of TWI 143 is limited to 500 copies pressed on blue vinyl and includes a digital link. All tracks are newly remastered in 2023.

Formed in late 1980 around charismatic frontman Marc Desmare together with musicians from infamous punk band Mad Virgins, Marine made an early splash supporting Orange Juice and Josef K at the legendary Plan K venue, Postcard Records afterwards keeping tabs on the Sound of Young Brussels.
Snapped up instead by chic boutique label Les Disques du Crepuscule, Marine released their infectious debut single ‘Life In Reverse’ in April 1981, attracting rave reviews in the Belgian and UK press, reaching the giddy heights of #6 on the NME indie chart, and even being invited to record a radio session for John Peel - a world first for a Belgian band.

Soon favourable comparisons were being drawn with The Pop Group, A Certain Ratio, Defunkt, James White and Fire Engines, some pundits even sensing a new Haircut 100. ‘We’re not a fashion band,’ insisted Marc in UK rock weekly Sounds, ‘and it’s not really dance music. But all the same I’m glad people dance to it.’

Alas, artistic differences caused the fast-rising group to part ways in a London studio, when half the band quit to form pop-funk sophisticates Allez Allez. With new Marines on board, Marc and bassist Paul Delnoy went on to release two further singles (‘How to Keep Cool’ and ‘Same Beat’), gigged extensively around France and the Low Countries, and played a headline show at The Venue in London. ‘Fine, disciplined and gleeful rhythm workers,’ enthused Chris Bohn in NME. ‘A happy, contagiously clean aural equivalent to a Serge Clerc cartoon.’

Alas by the summer of 1982 Marine were all washed up, with Marc going on direct films and documentaries as Marco Laguna. Four decades later, finally heeding desperate pleas from Crepuscule that his sensational first band never cut an album, Marc has written and recorded another 6 remarkably authentic sounding Marine songs with help from like-minded friends in Brussels and Paris, once more drawing on a heady mix of supercool funkabilly, jazz and soundtrack influences.

‘It was an incredibly strange experience to revisit my past,’ says Marc, ‘but definitely fun. I’m glad, and I’m proud!’

"Klez.e sind zurück! Im Jahr 2016 überraschten sie mit "Desintegration". Das war eine Überdosis The Cure, die ganz toll war. Nun sind sie mit ihrem neuen Album ,Erregung' wieder bei sich selbst angekommen. Der autobiographische Titeltrack ist ein bewegendes Zeugnis davon, wie Außenseitertum Menschen wie uns in die Liebe zur Musik treibt. In "Tortur" singt Tobias Siebert: ,Wir sind wie die Welt nicht mehr zu retten / Meine Lippen auf Deinen'. Der Blick von Klez.e auf die Welt ist romantisch, tieftraurig und politisch. In der Musik liegt Schmerz, aber auch Wut auf die Umstände, in denen wir gefangen sind. Ich empfehle euch, tief in ihren Songs zu versinken!" - Jan Müller (Tocotronic) "Anders gesagt, in stürmischen Zeiten braucht man manchmal irgendwen oder irgendwas zum Anlehnen. Zum Beispiel einen Sound, der einem vertraut ist. Aus der Kindheit oder Jugend. Der aber so zeitgemäß ist, dass nichts Verstaubtes an ihm haftet. In stürmischen Zeiten braucht man manchmal was zum Nachdenken, das über die Frage hinausgeht, wo man den nächsten Kaffee trinken, das nächste Konzert erleben oder den anstehenden Urlaub verbringen möchte. Für die, die gut zuhören können, auch Songtexte. Und die dürfen gerne das aktuelle Geschehen aufgreifen. Aber sie müssen einem nicht zwingend mit belehrendem Zeigefinger kommen, für den sich irgendwer eventuell nicht mal vom eigenen Schreibtisch oder Sofa wegbewegt hat, um der Welt da draußen zu erklären, was zu tun ist und was zu lassen, sobald irgendetwas passiert. Und es passiert ja immer irgendetwas, und deswegen kommt das neue Album der Band Klez.e genau richtig. Während viele andere Bands, die aktuell New Wave oder Post Punk spielen, gut aber bemüht klingen, wirkt die Musik bei Klez.e leichtfüßig gespielt und dennoch mit enormer Dringlichkeit aufgeladen. Sie klingt mächtig und selbstbewusst, dabei wärmend und umarmend - und sie erscheint nun auf einem neuen Album, das den ambivalenten Titel "Erregung" trägt." - Christiane Falk (RBB Radio Eins)

"Klez.e sind zurück! Im Jahr 2016 überraschten sie mit "Desintegration". Das war eine Überdosis The Cure, die ganz toll war. Nun sind sie mit ihrem neuen Album ,Erregung' wieder bei sich selbst angekommen. Der autobiographische Titeltrack ist ein bewegendes Zeugnis davon, wie Außenseitertum Menschen wie uns in die Liebe zur Musik treibt. In "Tortur" singt Tobias Siebert: ,Wir sind wie die Welt nicht mehr zu retten / Meine Lippen auf Deinen'. Der Blick von Klez.e auf die Welt ist romantisch, tieftraurig und politisch. In der Musik liegt Schmerz, aber auch Wut auf die Umstände, in denen wir gefangen sind. Ich empfehle euch, tief in ihren Songs zu versinken!" - Jan Müller (Tocotronic) "Anders gesagt, in stürmischen Zeiten braucht man manchmal irgendwen oder irgendwas zum Anlehnen. Zum Beispiel einen Sound, der einem vertraut ist. Aus der Kindheit oder Jugend. Der aber so zeitgemäß ist, dass nichts Verstaubtes an ihm haftet. In stürmischen Zeiten braucht man manchmal was zum Nachdenken, das über die Frage hinausgeht, wo man den nächsten Kaffee trinken, das nächste Konzert erleben oder den anstehenden Urlaub verbringen möchte. Für die, die gut zuhören können, auch Songtexte. Und die dürfen gerne das aktuelle Geschehen aufgreifen. Aber sie müssen einem nicht zwingend mit belehrendem Zeigefinger kommen, für den sich irgendwer eventuell nicht mal vom eigenen Schreibtisch oder Sofa wegbewegt hat, um der Welt da draußen zu erklären, was zu tun ist und was zu lassen, sobald irgendetwas passiert. Und es passiert ja immer irgendetwas, und deswegen kommt das neue Album der Band Klez.e genau richtig. Während viele andere Bands, die aktuell New Wave oder Post Punk spielen, gut aber bemüht klingen, wirkt die Musik bei Klez.e leichtfüßig gespielt und dennoch mit enormer Dringlichkeit aufgeladen. Sie klingt mächtig und selbstbewusst, dabei wärmend und umarmend - und sie erscheint nun auf einem neuen Album, das den ambivalenten Titel "Erregung" trägt." - Christiane Falk (RBB Radio Eins)

DOG BEACH is Merryn Jeann’s first full length album, produced by Rob Ellis, comparing her directely with his previous collaborators.

Rob Ellis is a record producer, composer, arranger and musician who has been acting for about 40 years and during which he's had the honor to work with such notable artists as PJ Harvey, Marianne Faithfull, Scott Walker, Nick Cave, Warren Ellis, Brian Eno, Thom Yorke, Anna Calvi, ...

About working with Merryn : "In every instrumental phrase that she arrived at and each line of her vocal delivery Merryn's enthusiasm and very individual creativity comes across brilliantly I think... whilst still managing to retain an expression of deeply felt heart and soul... a rare combination in my experience, and a match for any of my aforementionel, much admired collaborators."

"The days in the studio were endlessly creative and playful... and subsequently very exhilarating... by the end it felt like we had really gone through something extremely special, and I believe the resulting LP strongly reflects that." Rob Ellis

Album was recorded over 5 weeks in England, including musicians such as Jim Barr (Portishead), Ben Christophers (Bat For Lashes) or Patrick J. Pearson (Daughter, LYR) but also Christelle Canot aka Confuse, half of IN CASE OF FIRE recently signed to Steve Budd’s prestigious record producer agency.

Merryn Jeann is a Naarm/Melbourne and Bundjalung Country/Byron Bay Shire based singer-songwriter and multi-instrumentalist. She has crafted a genre-bending, dreamy world of soundscapes that bear an enticing musical wisdom.

Sitting somewhere between Caroline Polachek, Cat Power, Weyes Blood, Feist, and Kelsey Lu, Merryn Jeann’s sound is fueled by authenticity. Her raw and honest self packaged into intricate and reflective morsels, many of which are yet to be revealed.

She played Glastonburry at the beginning of her career with the band TORA.

UK and international promo by Whiteboard PR.

A second LP will be recorded in 2025 again with Rob Ellis at the production.

Side projects : OSOO with Kyson & Chris Hill, IN CASE OF FIRE

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at SXSW, Transmusicales in France and Electric Picnic in Ireland. Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM SHATT weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

Opt Out by Oum Shatt, released 26 January 2024, includes the following tracks: "Love the Way She Stands", "Madame LeSoleil LeVant", "Over the World and Out", "Investors" and more.

This version of Opt Out comes as a 1xLP.

The vinyl is pressed as a blue disc.

One half experimenting with new styles not tried before, and the other half proving that when it came to progressive rock, they had few equals. It perfectly represents the versatility, sense of humour and compositional genius of this most singular of bands. Including the same personnel that had recorded the previous years In'terview - Derek Shulman, Ray Shulman, Kerry Minnear, Gary Green and John 'Pugwash' Weathers, and yet it felt different. Marking a change in direction following their successful In'terview tour, the album received mixed reviews upon its initial release, but has since grown in stature, praised for its forward-thinking sound and experimental nature. We are now pleased to present this record in its full glory and the best it's ever sounded.

Continuing his association with Gentle Giant, award winning producer and musician Steven Wilson has remixed The Missing Piece.His tonal range and painstaking attention to sound quality gives the album a fresh and exhilarating sonic lift.

The Missing Piece by Gentle Giant, released 23 February 2024, includes the following tracks: "Betcha Thought We Couldn't Do It", "Mountain Time", "Memories Of Old Days", "For Nobody" and more.

This version of The Missing Piece comes as a 1xLP.

This Is The Sea is the third album by The Waterboys. Released in September 1985 and includes the classic single,The Whole of The Moon, along with other tracks, Don't Bang The Drum, The Pan Within and Old England. Considered by critics to be the finest album of their early rock-orientated sound, described as "epic" and "a defining moment" in the bands ongoing career.

This new clear vinyl edition is a companion piece to the (also) forthcoming 6CD Deluxe box set '1985', the making of the This Is The Sea album.

The format is 12" 3mm spine sleeve with silver OBI, printed insert and on 180gm clear vinyl

Fela definiert geistige Blindheit als eine Person, die mit weit geöffneten Augen die Richtung verliert und sich im Kreis dreht, ohne je an ihr Ziel zu gelangen. Die Ikoyi-Blindheit bezieht sich auf die nigerianische Elite, die falsche Berufe wählt, weil sie damit eher sozialen Status als berufliche Befriedigung erlangen. Sie üben nicht nur die falschen Berufe aus, sondern sind auch blind für das Leid ihrer Landsleute, die in Ghettos wie Mushin, Ajegunle, Somolu, Maroko und sogar Kalakuta leben. Als Beispiel nennt er den Anwalt, der statt eines Buches den Hammer als Werkzeug wählt, oder den Musiker, der den Schraubenschlüssel als Werkzeug wählt. Fela sagt, dass es für solche Menschen noch Hoffnung gibt, wenn sie ihre Denkweise an ihre Umgebung anpassen. '…them miss road! Them find road again oh!'. Jene sozialen Aufsteiger, die den Status quo und die Tatsache, dass sie in die Fußstapfen der ehemaligen Kolonialverwalter getreten sind, als Zeichen ihres sozialen Aufstiegs sehen. Sie vergessen, dass die Mehrheit ihres Volkes immer noch in den Ghettos kämpft. Diese Menschen müssen erkennen, dass es ihnen schlechter geht als einem Blinden, der am Ufer eines Flusses lebt. Sie werden fallen: "shallow" into more 'Ikoyi mental' Blindness.

Gba Mi Leti Ki N'Dolowo (Schlag mich, damit ich Geld bekomme): Das Jahr 1974 war ein Wendepunkt für das Justizsystem, das sich die Durchsetzung des Rechts auf die Fahnen geschrieben hatte. Vor allem in einem Land, in dem die Reichen die Armen ungestraft ausbeuteten. Eine Reihe von Prozessen, an denen Menschen aus den unteren Schichten der Gesellschaft gegen die Oberschicht und einflussreiche Männer beteiligt waren, führte dazu, dass die Reichen ihren armen Anklägern hohe Entschädigungssummen zahlen mussten. Fela sang darüber und betonte, dass man niemanden ausnutzen und damit davonkommen kann. Wenn du mich schlägst, bekomme ich Geld. Solange ich mich selbst respektiere, werde ich meine Grenzen nicht überschreiten - wenn du mich schlägst, wirst du bezahlen.

Ikoyi Blindness war im Box Set #5 enthalten, das von Chris Martin und Femi Kuti kuratiert wurde. Das Album wurde auf weißem Vinyl neu gepresst und ist untergebracht in einer bedruckten Innen- und single sleeve Außenhülle.

In O.D.O.O. singt Fela über die Auswirkungen der militärischen Machtübernahme und die Zerstörung der jungen afrikanischen Demokratien seit der Unabhängigkeit - insbesondere der jungen Demokratien, die nach langen Auseinandersetzungen und manchmal sogar Kriegen mit den Kolonialmächten ihre Unabhängigkeit erkämpft und gewonnen haben. Er sagte, dass Putschisten, wenn sie an die Macht kommen, Namen annehmen wie: Nigerianischer Oberster Militärrat, Ghanaischer Erlösungsrat, Libyscher Revolutionär usw. In den meisten Fällen wurden die Putschversuche von den ehemaligen Kolonialmächten geplant und finanziert. Für diejenigen, die sich dessen nicht bewusst sind, schafft die Präsenz des Militärs auf der politischen Bühne die Illusion einer friedlichen "demokratischen" Partizipation und einer funktionierenden Regierung. Zumal der größte Teil der täglichen Regierungsarbeit von Zivilisten geleistet wird, die den Militärchefs unterstehen. Für Fela besteht die Aufgabe der Streitkräfte unter normalen Umständen darin, die zivile Regierung zu verteidigen und zu unterstützen, und nicht darin, sie zu stürzen oder die Aufgaben eines Regierungszweiges an sich zu reißen, weil sie kein politisches Mandat haben. Das Gegenteil zu tun - das bedeutet "überholen". Jede Vorstellung von einem wohlhabenden und friedlichen Land, in dem das Militär an der Spitze der Macht steht, ist eine Illusion.

Die anhaltenden Skandale und die Korruption auf höchster Ebene, die alle Regime seit der Unabhängigkeit kennzeichnen, tragen dazu bei, Felas Desillusionierung und sein Misstrauen gegenüber dem Militär ins rechte Licht zu rücken. Er weist auf die Zweideutigkeit hin, daß die Verfassungen der neuen unabhängigen afrikanischen Nationen an die Verfassungen der scheidenden Kolonialherren angelehnt sind. Identifiziert das als Ursache der Probleme. In seiner sarkastischen Art bezeichnet Fela das, was in Afrika als Regierung durchgeht, als: '…soldier go! Soldier come!' Damit meint er, dass die Institution, die die militärische Struktur geschaffen hat, die Armee absichtlich dorthin gebracht hat, um ihr koloniales Werk fortzusetzen. Um die Not der Afrikaner unter einer solchen Diktatur deutlich zu machen, führt Fela eine Liste von Liedern an, die er geschrieben hat und in denen er die Ungerechtigkeiten des Systems kritisiert: Kalakuta Show! Mr. Follow-Follow! Zombie! Shuffering und Shmiling! Leider sind es die armen Massen, die am meisten unter der Misswirtschaft und Korruption der Regierung leiden. Von klein auf müssen afrikanische Kinder lernen, wie man in einem System überlebt, in dem man nicht weiß, woher die nächste Mahlzeit kommt - keine soziale Sicherheit, keine Bildung etc.

Trotz all dieser Rückschläge versuchen die Afrikaner weiterhin, ihre Kinder zu erziehen. Die Kinder wachsen auf, nehmen feste Jobs an, um ihr Leben zu verbessern, sparen hier und dort, um zu überleben. Letzten Endes jedoch machen die Ereignisse der Misswirtschaft verschiedener Verwaltungen alle Opfer und Abstriche, die der Einzelne zur Verbesserung seines Lebens macht, nutzlos.

O.D.O.O. war im Box Set #5 enthalten, das von Chris Martin und Femi Kuti kuratiert wurde. Das Album wurde auf grünem, transparentem Vinyl neu gepresst und mit einem bedruckten Inlay versehen in einer single sleeve Außenhülle.

- Ltd. Col. LP: (Transparent Green Vinyl)

French pianist Dorian Dumont is an exceptionally gifted, Brussels-based jazzman and member of electronic experimentalists, ECHT! In 2021, he released his debut solo album 'APHEXionS' - a challenging exercise of solo piano focussed entirely on the music of one of the most influential and important artists in contemporary electronic music, Richard James, aka Aphex Twin. Dumont's sophomore album, 'to the APhEX', released 23rd February via W.E.R.F. Records, continues that fascination with his musical hero and acts as a musical love letter of sorts - a groundbreaking experience, where the enchanting world of classical piano collides with the electronic brilliance of Aphex Twin. Richard James' music serves as a starting point for Dumont's musical developments which are sometimes composed and often improvised, letting him find his playing field around the concepts and the poetics of the genius of electro music. Contrary to what one would expect, there are no electronics involved but Dumont carefully transcribes a wide selection of Aphex Twin's music to the grand piano, giving the songs a whole new dimension. Dumont starts from the melody lines and rhythmic structures found in the original tracks but builds on them, deconstructing pieces and adding his own improvisations. Lovingly recreated, the songs take on a completely new dimension, and it exposes both the genius and musicality of Aphex Twin and Dumont himself. "Aphex Twin is a fascinating artist and character. At first, I started transcribing his pieces just to understand them. I then sat on my acoustic piano for the pleasure of hearing these pieces that I loved so much only to realize that in the end I was improvising, I was playing. In short: I was having fun. That's how this project was born: through pleasure and games. The challenge then was to develop the concept of this project to find my own playground and my own responses around the musical principles of Mr. Richard James, in order to make this project a celebration on my own terms."

Always curious about new sounds and cultivating eclecticism, 'to the APhEX' stays truthful to the minimalistic aesthetics from the original tracks. From the unruly, emotionally stirring '180db_ 130' to the simple beauty of 'Windowlicker', Dumont is part of a new generation of musicians who have no intention of sticking to the rules. Dumont dances across the keys, perfectly capturing the mood and feeling of Aphex Twin, where classical meets electronic. Elsewhere, 'PAPAT4 155[pineal mix]' is stripped to the core showcasing Dumont's ingenuity, while 'Avril 14th' and album finale '#3 (Rhubarb)', unfolds with delicate piano, evoking a sense of tranquil introspection.
Born in Montpellier where he studied classical piano at the Conservatory, in 2005, Dumont achieved the highest distinctions in piano and chamber music. With a broadening interest in jazz and improvised music, he moved to Brussels in 2008 and after studying in the Jazz sections at the Royal Conservatory of Brussels then at the Koninklijk Conservatorium van Brussel, he obtained his master's degree in 2013. In recent years, he has played an integral part of the critically acclaimed four-piece 'ECHT!' which breaks the boundaries between jazz, electronic music and hip-hop. In addition, Dumont also participates in numerous other projects across various genres including 'Edges' with Guillaume Vierset, Jim Black, and Anders Christensen or 'Easy Pieces' with Ben Sauzereau and Hendrik Lasure. He also collaborates with bands including Juicy, Vaague, Kuna Maze, and Pol Belardi's Force, among others.


[a] A1. 180db_ [130]


[d] A4. PAPAT4 [155][pineal mix]

"Nadine Shah announce her fifth album Filthy Underneath will be released on 23 February as the inaugural release on EMI North. The follow up to 2020's critically acclaimed Kitchen Sink and 2017's Mercury Prize nominated Holiday Destination, the announcement comes alongside lead single 'Topless Mother' which was just premiered by Steve Lamacq on BBC 6 Music.


Filthy Underneath chronicles a period of unprecedented turbulence in Nadine Shah’s life. And yet, the experience of listening to it is oddly life-affirming – a parade of ghosts spanning the entirety of Nadine’s thirty-seven years, moving with balletic beauty to the music that Nadine and long-time co-writer and producer Ben Hillier have created around them, with renewed emphasis on placing melody and movement front and centre."

Thee Alcoholics are the brainchild of Rhys Llewellyn, a longtime Rocket Recordings alumnus whose background leans as heavily into the bassbin-shaking realms of electronic music as it does the tinnitus-inducing world of howling, cranked-up ampstacks. Not content with hammering drumskins for numerous floor-shaking records on the Rocket discography from the likes of Hey Colossus and The Notorious Hi-Fi Killers, he’s also been responsible for brain-rearranging electronic works under the Drmcnt and Acidliner monikers. Thee Alcoholics, however - which initially gestated as a result of Rhys himself wanting to pursue the somewhat hostile sound in his own head during lockdown - maps out a collision course between all of the above. Cranky and cantankerous yet lysergically aligned, Feedback is mesmeric rock with swagger, warped into sci-fi shapes by the spirit and sonics of bass and soundsystem culture. The psychedelic shapes here are redolent of the ur-klang of The Fall and the monolithic lurch of The Heads, the motorik malevolence less an uplifting trip to the heavens than a drill down to the earth’s core. Discernible in these jackhammer beats, grimly murmured vocals and delirious dirges to certain heads may be the trash futurism of Chrome, the decomposed stomp of unsung legends Earl Brutus and the electro-punk attack of Six Finger Satellite, yet all of the above co-ordinates are waylaid effortlessly by a balls-out intensity and a 6 fearsome intent on aural oblivion at all costs. Feedback may be elemental and primal, yet this is no psych comfort-blanket nor retrofetishism, rather a repetition-driven journey headlong into intimidating territory unknown. Get on board and strap yourselves in for a bumpy ride.

Der in den USA aufgewachsene Christian Kjellvander (sprich: "Schjellwander") kam schon als Jugendlicher mit der texanischen Alt-Country-Szene in Berührung, die ihn nachhaltig beeinflusste. Als einer der bekanntesten Singer/Songwriter Schwedens veröffentlichte Kjellvander neben mehreren CDs mit seinen Bands Loosegoats und Songs of Soil auch zahlreiche Soloalben.

Bevor zum Jahresbeginn 2011 das Album "The Rough And Rynge" erschien, hatte Christian Kjellvander mehrere Jahre damit verbracht, Geschichten aufzuspüren und in sich aufzusaugen. Geschichten von der Straße, dem Land, der Stadt und der See. Zwei Jahre lang tourte er mit Band und/oder seiner Familie mit allen möglichen Fortbewegungsmitteln durch Nordamerika und Europa. Danach war seine Stimmung so zwiespältig wie nie zuvor. Einerseits war er erfüllt von Begegnungen mit kreativen, geistreichen und warmherzigen Menschen, die er an wunderschönen Orten getroffen hatte, andererseits verzweifelte er an den Auswüchsen des Kapitalismus. Deshalb zog er sich in ein kleines, abgeschiedenes Haus auf dem Land zurück, wo er die Songs für "The Rough And Rynge" schrieb. Es wurde live mit Band in fünf Tagen im Rynge Castle aufgenommen, einer Scheune an einem Haus in einem kleinen Dorf an einer Bahnlinie.

Cyril The Great returns with his second release, "Quantum Fairytales." This record showcases two analog "long drinks" infused with the raw vibes of the 90s and it delves into the mysterious journey of electronic sound, emerging from the quantum realm of pure energy and adhering to its own esoteric principles, resulting in the emergence of a solid tracks in our contemporary reality.

Kuratiert von Robert Wyatt, Domino Record Company und Marcus O'Dair, dem Autoren der bald erscheinenden Wyatt Biografie "Different Every Time", erscheint begleitend zu dessen werkumspannenden Buch ein gleichnamiges Doppel-Compilation-Album auf Domino. Die Veröffentlichung besteht aus Disc 1 "Ex Machina", einer chronologischen Werk-Einführung für Wyatt Novizen, sowie aus Disc 2 "Benign Dictatorships", einer Sammlung von seltenen bis niemals zuvor veröffentlichten Songs aus den Wyatt Archiven. Robert Wyatts musikalische Karriere begann in den 60ern als Schlagzeuger der legendären Psychedelic Rock- und Jazz Fusion-Band Soft Machine. Mit Beginn der 70er Jahre widmete sich Wyatt der Arbeit als Solo-Singer/Songwriter. Durch inzwischen über 15 Studio-Veröffentlichungen schaffte er sich besonders in Europa eine bis heute treue Fangemeinde. Bisherige Kollaborationen mit Künstlern wie Brian Eno, John Cage, Scritti Politti, David Gilmour, Björk oder Hot Chip sind dabei Zeugen von Wyatts anhaltender musikalischer Entfaltung.

The iconic Is It Balearic heads to the slightly less iconic - in Balearic terms - West Midlands to retrieve this great EP of electric dance effort gems from Wrekin Havoc. 'Camino' is a loose, melody-rich sound with silvery drums and real nostalgia, then 'Moon Dance' it's a more laidback and zoned out sonic daydream for lazy and sunny afternoons by the pool. There is an electro vibe to 'RLTW' which is a reworking of a Christopher Cross Yacht classic then a T Kurt Remix reworks it into a boogie banger. Another varied and vital EP of grown up dance sounds.

NOW is proud to present the very best of Country music with NOW That’s What I Call Country. 4 CD’s jam-packed full of the biggest Country hits of all time! With 86 tracks and its mix of classic and modern hits, this collection is essential for any Country music and Pop fan! So, grab yours today, and get ready to enjoy the very best of Country also available on a Coloured Triple LP set with 50 tracks and its mix of classic and modern hits, this collection is essential for any vinyl collection! So, grab yours today, and get ready to enjoy the very best of Country across 3-LPs!

Devon made her musical debut earlier this year, releasing her first ever recorded single, ‘Swim’ to swooning fans in September, and has decided to follow it up next week with a sultry and high energy tune entitled ‘Killer’. ‘Killer’ is the second song to be released by Actress/Model/ — and, now —Musician, Singer/Songwriter: Devon Ross. ‘Killer’ hits all digital platforms worldwide on the next ‘Bandcamp Friday’ (1-December -2023) in advance of her very first concert taking place at London’s legendary 100 CLUB on December 13, 2023. Inspired by Sixties and Seventies legends, such as The Beatles, Rolling Stones, Patti Smith, Bob Dylan, The Stooges and Television, Devon Ross is finally debuting her first recordings on the forthcoming EP, entitled Oxford Gardens. Oxford Gardens was recorded in Paris and mixed & mastered at Abbey Road Studios in London and set for release on Thurston & Eva Moore’s indie record label, The Daydream Library Series. TRACKLIST: 1/I Don’t Wanna 2/Swim 3/Killer 4/Mine Not Yours. Bio: Model-actress-guitarist, 23-year-old recording artist was raised in Los Angeles and moved to London in 2020. British Vogue cited Ross as “the coolest model currently climbing up the ranks”. During 2019, Gucci recruited her for a Rome runway show before casting her in the launch of the Gucci x Disney Collection (notably shot at Disneyland). It opened up the floodgates as she went on to walk for Valentino, Erdem, Gauchere, Sies Marjan, and Simone Rocha and lead campaigns for Vivienne Westwood and Mulberry. Her career would be chronicled by L’Officiel, 10 Magazine, W, and many more. In 2021, she joined the cast of HBO and A24’s Irma Vep - The Serial (2021) alongside Academy® Award Winner Alicia Vikander, Adria Arjona, Carrie Brownstein, Byron Bowers, and others. Eva & Thurston met Devon at Cannes Film Festival in France in 2021 and started going to shows and kicking around London together. After witnessing her guitar playing and hearing her music the couple invited her to release music on their independent record label. This month November 2023, The Daydream Library Series independent record label will celebrate five years in operation. Thurston & Eva founded the label in 2018 to release the debut album Sistahs by London’s black, feminist, punk band Big Joanie.

Emin's album Now or Never inspired by the late Elvis Presley. The album comprises of 12 reimaginations of Elvis classics and produced by 16x GRAMMY award-winning David Foster (Dolly Parton, Barbra Streisand, Aretha Franklin).

Embracing his lifelong admiration for Elvis Presley, Now or Never will pay homage to the classics we have all come to know and love. Emin has handpicked his beloved and most poignant 12 Elvis-inspired love songs and the album will include hit single, "Suspicious Minds", sentimental romantic Plaisir d'amour inspired ballad "Can't Help Falling In Love" and the iconic film title track, "Love Me Tender".

Emin says: "This album is a dream come true, I started my musical career listening to Elvis, and learning to write music based on what Elvis was singing. Meeting David Foster 10 years ago, doing a show with him and performing some of Elvis' songs gave me enough confidence to think we might collaborate one day! Now we've created this beautiful album together. David and I handpicked some of Elvis' best songs and I'm so grateful that he's taken on this project and made it as incredible as he has. As a producer, every album David touches becomes the artist's best work and he's done the same for me. This is the best piece of music I've ever done!"

Introducing the latest release on Phunkation records - a funky techno banger record that will get you up and dancing! Drawing influences from classic techno and funk, this release is sure to be a hit on the dance floor.
Featuring a pumping bass line, a catchy synth hook and a groovy beat, it's destined to keep you moving all night long.
This one-of-a-kind release is sure to get you into the groove with its dirty drums and infectious energy, perfect for a peak time occasion. Whether you're hitting the club or just having a dance party at home, this is the record to get you in to the mood. Don't miss out on this must-have release from Chris Chambers & Homma Honganji - get it now and get ready to dance!

The initial idea was for Christian Kjellvander to be playing instrumental songs backed by other musicians at a large exhibition of the Swedish photographer Jacob Felländer"s work at Kraftwerk in Berlin in May 2020. As they are mutual admirers of each others work, Christian Kjellvander agreed. Well, things happened and then nothing happened. But they did exchange photos and song ideas and Jacob finally asked Christian if he would like to record the music anyway and release as an album.

Wichtig Ö wie bei Labelmate Kristofer Âström Ö ist die Musik dieser Platte. Und die geht durch Mark und Bein. So voller Melancholie, Leiden, Verlangen und ja, Moll, stecken die zehn Songs auf Kjellvanders Debüt ûSongs From A Two-Room Chapelë.(...)Im Zentrum der zehn Songs steht überdeutlich die herrliche Stimme Christian Kjellvanders. In Schweden geboren und in den USA aufgewachsen, ist sein Englisch zwar akzentfrei, verliert sich jedoch äußerst selten in kaugummiesquen Vernuschelungen. Er formt die Worte wohlüberlegt, bevor sie ihn verlassen, gibt ihnen ab und an einen oldschoolig-countryfizierten Twist, der für einige Millisekunden die ausgemergelten Geister uralter Countrytitanen aufscheinen lässt. Und wer das schafft, hat eh gewonnen... Markus Hablizel

Die schönsten, traurigsten und innigsten Songs kommen noch immer aus Skandinavien. Als Christian Kjellvander sich in dem winzigen Dorf Österåker, eine halbe Autostunde nördlich von Stockholm, eine alte Kirche kaufte, war klar, dass er seine Heimat gefunden hatte: für sich, seine Familie und seine Songs. Der schwedische Singer/Songwriter brauchte einen Ausgangs- und einen Endpunkt, dazwischen kann er mit seinen Liedern auf der ganze Welt unterwegs sein, im Vorprogramm von Leonard Cohen oder Kris Kristofferson singen, mit seinen Bandprojekten Loosegoats und Songs Of Soil touren oder Solo-Konzerte spielen, die nur so vor Intensität und Erhabenheit leuchten. So wie sein neues Album "A Village: Natural Light" es schon im Titel trägt. Lieder über nicht weniger als Leben, Lieben und Sterben. Es sind keine Lieder, die einen weit fort tragen, sondern sie stehen mit beiden Beinen fest auf dem Boden. Und doch atmen sie etwas Überirdisches, eine raue Schönheit wie in einem kargen, nördlichen Wald und die Klarheit einer mittendrin entspringenden Quelle. Kjellvander erzählt, er habe, als er diese Lieder schrieb, auf dem Dorffriedhof als Leichengräber gearbeitet. Nicht, weil er so morbide wäre, sondern weil er den wahrhaftigsten Job, den es nur geben kann, machen wollte. Das setzt er als Songwriter konsequent fort Und als Musiker lässt er die Lieder dann so hell erstrahlen, dass man ihn quasi vor sich sieht, wie er sich die Erde von den Händen reibt, die Gitarre nimmt und in seiner Kirche seine Stimme erhebt.

Christian Kjellvander gehört zu den wenigen Musikern, die ohne Kompromisse ihren Weg gehen, immer nur das nächste Album im Blick. Nach der Reunion seiner Band Loosegoats und deren 2012er-Album "Ideas For To Travel Down Death"s Merry Road" legt er mit "The Pitcher" umgehend nach. Es ist die fünfte Soloplatte des schwedischen Singer/Songwriters und die erste seit "The Rough And Rynge" aus dem Jahr 2010. Aufgenommen in einer alten Kirche auf dem Land in Schweden, ist "The Pitcher" sein vielleicht elegantestes und handwerklich sauberstes Werk. Eine sehr atmosphärische, dichte, bewegende Platte, mit Hingabe geschnitzt aus Worten, Noten und Erinnerungen, die mit den ersten Akkorden von "The Mariner" - einer zarten, sehr persönlichen Ballade - beginnt, sich in "The Zenith Sunset" mit den Brüchen in der Mitte des Lebens beschäftigt, um dann mit der Hymne "The Bloodline" zu enden. Das Ganze vorgetragen mit geradezu hypnotisierender Klarheit und dieser einzigartigen Stimme, die hier noch tiefer, noch einschmeichelnder erscheint als je zuvor. Die LP erscheint mit CD.

In diesen Tagen, in denen Ausgrenzung und Abschottung zu regieren scheinen, braucht es Künstler wie Christian Kjellvander. Der schwedische Singer/Songwriter ist einer, der das Fremde umarmt und das zutiefst Menschliche auslotet. Bereits der Titel seines neunten Albums, "Wild Hxmans", zeigt: etwas ist anders, irritierend. Denn Kjellvander macht uns ein X für ein U vor. Das ist gut, denn er macht uns nachdenklich und sensibilisiert. Wir nutzen ein X, um unsere Stimme abzugeben. Aber auch, um einen Fehler grob unkenntlich zu machen. "Einfach durchstreichen und weg - wenn Leute versuchen, dieses Prinzip auf andere Menschen anzuwenden, haben wir ein Problem", sagt der Musiker, dessen Wunderstimme mal an Leonard Cohen, mal an Neil Young und mal an David Sylvian erinnert. Und so erzählt uns der 42-JaÌêhrige in sieben rauen wie soghaften Songs zwischen Folk, Blues, Americana und Free Jazz von Abschied und Aufbruch, von Flucht und dem Gefühl, neu in einer Welt zu sein. So erschafft Kjellvander einen Sound, der ruhig atmet und pulsiert, um sich dann aus dieser Intimität in eine unglaubliche Dynamik hineinzufiebern, in etwas Dunkles, Sattes, Schwüles. Mitunter scheint seine Musik zu entschwinden, um kurz darauf flirrend und transparent zu strahlen.

Sublime Christian folk jazz from 1970s Norway. In the '60s and '70s churches throughout Europe had serious competition for the attention of its younger members. The ecclesiastical establishment was shocked to hear teenagers expressing 'Sympathy for the Devil' rather than sympathy for Christ and his teachings. In Norway at this time the same situation was prevalent as was happening across Europe; teenagers were turning their back on the church and embracing the temptations and pleasures of the flourishing new pop culture. Priest Olaf Hillestad was all to aware of what was going on, and instead of relying on the floundering traditional methods of rounding up his flock, he embraced the musical aspirations of his younger followers. In so doing he founded the Forum Experimentale in Oslo, an organisation that promised in its statutes to "boldly work for a renewal in service life, church music and church art". It was here in the late '60s where That's Why founder members Jan Simonsen and Per Arne Løvold became responsible for the jazz masses at Forum Experimentale's chapel. Together with some top-notch musicians from other Christian music centres around the Oslo district, they recorded two albums in 1970 and 1971 under the moniker That's Why. That's Why blended deep acoustic and electric jazz with elements of Norwegian folklore and Christianity. They also included interpretations of young and old transcendental Norwegian poets such as Sidsel Mørck Krogdahl, Alfred Hauge and Aslaug Vaa, as well as introducing English and Swedish songwriters such as Åke Rosenstrøm and Charles Wesley and even William Blake's "Children of the Future Age" into the mix. This highly original fusion of secular rhythmic music, jazz improvisation and a distinguished selection of transcendental lyrics is one of the standout qualities of That's Why, separating them from more programme-orientated Christian music. The unique mix leads the listener to think they are hearing among the record grooves the tightness of grey, sober Protestantism along with the ecstasy of a lay preacher. This listener, for one, has never heard anything quite like it.

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.