Suche:class b

CENTRAL's new release is already here! On the B-Side, DJ KAWASAKI has edited the extra-hit “Samurai” to make it an even hotter dance track!
Both sides of the album are perfect for the field!

CENTRAL, a salsa band that has suddenly gained attention after releasing two singles and a full-length album last year, but is actually a group of seasoned salsa veterans, has already released a new single! This time around, CENTRAL has released a cover of “Brazilian Rhyme,” one of Earth, Wind & Fire's many classic songs that still remains a dance floor favorite, with a Latin arrangement that is full of CENTRAL's signature style. The groovy bass, shimmering electric piano, percussion, and outstanding horn arrangement make you want to dance and scream, “This is CENTRAL! The B-Side features DJ KAWASAKI's edit of “Samurai,” a definitive mellow salsa track that has now become a WANT-requested item from all over the world, sublimated into an even hotter dance track!

This summer, dance hard to CENTRAL's salsa!

Zum 50. Jubiläum von Bad Company und anlässlich ihrer Aufnahme in die Rock and Roll Hall of Fame 2025 erscheint am 24. Oktober das erste von der Band autorisierte Tribute-Album:
„Can’t Get Enough: A Tribute to Bad Company“

Diese besondere Veröffentlichung vereint namhafte Künstler*innen aus Rock, Country und Americana – darunter The Pretty Reckless, Charlie Crockett, Slash, HARDY und Def Leppard – die Bad Companys Klassiker auf persönliche, frische Weise interpretieren.

Ein echtes Highlight: Frontmann Paul Rodgers und Drummer Simon Kirke wirken selbst an mehreren Songs mit – in Kollaboration mit den teilnehmenden Künstlern.

Ein Must-Have für Fans von Classic Rock und eine ehrwürdige Hommage an eine der einflussreichsten Rockbands der Musikgeschichte.

"Deeply tied to the composer’s own life, the narrative of Lacrimosa invites reflection in the face of loss. This sonic work draws inspiration from Alice Coltrane’s spiritual Eternity (1976) as well as the traditional structure of the Requiem, a mass for the dead. One of its sections, the Dies Irae, evokes Judgment Day and concludes with the Lacrimosa (literally, “full of tears”), depicting the weeping of souls in search of salvation.

In Lacrimosa, Low Jack transforms autobiographical elements into a messianic, polyglot form, unfolding across eight movements that chart the storms and serenity of grief. The piece unfolds from dawn to dusk, as the eyes open and then close. An initiatory solar cycle, from which one returns like Dante in his Divine Comedy, transcendent yet grief-stricken by the loss of a guiding presence.

Low Jack crafts one of his most intimate compositions, weaving together musical archetypes and universal narrative structures, drawing from both classical lyrical music and pop standards."

Following the success of Highly Refined Pirates' forward-thinking guitar gymnastics and Menos El Oso's groundbreaking glitch rock, Seattle's premier pop revisionists Minus The Bear dug into some of rock music's most ostentatious years for inspiration for their 2007 album, Planet of Ice. The title alone conjures images of Yes's Relayer album art, and the influence of the elder statesmen's symphonic scope can be felt throughout Planet of Ice's lush and intricate arrangements. You can also hear the band channel the ominous instrumental interplay of Lamb-era Genesis on "Dr. L'Ling", the deceptively savvy musicianship and pristine production of Steely Dan on "White Mystery", and the tightrope walk between ethereal space and pre-metal riffage of Pink Floyd's "Echoes" on "Lotus". Not that Minus The Bear completely abandoned their earlier style_elements of Menos El Oso's sample-driven technique can be heard on the lead single "Knights". But the heart of the song ultimately belongs to the haunting Fripp-esque guitar lines spliced between verses. After being out of print on record since 2010, Suicide Squeeze is proud to reintroduce Planet of Ice's creative marriage of classic motifs and modern musical wizardry with a vinyl remaster courtesy of Bernie Grundman.

illo.trio is a young ensemble and a representative of the modern jazz scene in the spirit of British group GoGo Penguin and Swedish trio E.S.T.
The band explores an unconventional and fresh sound. In their work, they combine elements of classical and pop music, jazz and minimalism, neo-classical influences, and even post-rock. Familiar musical formulas take on anew, unexpected character.
Band members:
-Nikolay Khomenko - keyboards
-Alexey Bausin - double bass
-Viktor Kulish - drums

A cornerstone of soulful reggae, Lover’s Rock by Jamaican legend Delroy Wilson bridges his deep roots in ska and rocksteady with the smooth, romantic vibes of the UK’s lovers rock movement. It's a noteworthy entry in the lovers rock canon and a testament to Wilson's versatility. Originally released in 1978 by Burning Sounds, this album captures Wilson’s velvet-toned voice over laid-back riddims and heartfelt lyrics—a perfect entry point for fans of both classic reggae and tender love songs.
A must-have for collectors of golden-era reggae and lovers rock enthusiasts alike. Original UK pressing is increasingly rare and prized for its warm analogue sound and classic artwork.
Recommended if you like: John Holt, Gregory Isaacs, Dennis Brown, Sugar Minott.
Released on 180-gram vinyl including sleeve notes and 2 bonus tracks.

Cindy Lee is the diva alter-ego of singer / guitarist / drag queen Patrick Flegel, the one-time captain of heralded Canadian experimental guitar pop act, Women. In Flegel's working on / as Cindy Lee exclusively over recent years, their songwriting makes a move toward high atmospherics, often achieving a mysterious sweetness rooted equally in beauty and ache.

As Cindy Lee's first long-form statement, Act Of Tenderness makes use of antipodal themes to create a living sound: static with grace, distortion and sugar, all masterfully arranged with crooked nods toward pop classicism. The layered vocal on "Power And Possession" creates a palpable haunt, bringing historical girl-group lament to choir-esque heights. The feedback shriek and industrial grind of "Bonsai Garden" provides near-operatic damage, yet never stumbles into the irrevocably grave. These snowy pieces give the album a decidedly cinematic feel, albeit one bent more towards Eraserhead.

Originally released in a scant private edition in 2015, Superior Viaduct's imprint W.25TH is pleased to give Act Of Tenderness its deserving wide release.

The occasional AZIMUTH collaborator showcases his Brazilian heritage on this tribute to the late visionary genius IVAN "MAMAO" CONTI. The 6 forward looking tracks examine CONTI's influence while avoiding "throwback" territory. Features a stunning remix from BYRON THE AQUARIUS.

Difficult as it may be to imagine, there was a time when Sun City Girls did not exist. Prior to the Bishop brothers teaming up with drummer/shaman Charlie Gocher to form SCG's classic trio lineup, there were various ad-hoc assemblages of local Phoenix-area freaks and weirdos – groups which existed only long enough to play a single gig, open mic or house party before disbanding without a trace. Hatched from this milieu was Paris 1942, a short-lived band formed by guitarist Jesse Srogoncik that included Alan Bishop, Richard Bishop and former Velvet Underground drummer Maureen Tucker.

Paris 1942 would play only four shows in as many months, but between April and August of 1982, the band would gather several times a week in Tucker's living room, where the group feverishly wrote and rehearsed with a kind of quotidian discipline. While P42 didn't release anything during their brief tenure, a 7" EP and LP (both self-titled) surreptitiously surfaced on the Majora label in the mid to late '90s. Until now, those two titles – as well as an appearance on Placebo's Amuck comp in late '82 – would be the only documented evidence that this improbable, serendipitous and magnificent band ever existed.

While those expecting P42's music to sound like a tantalizing combination of Sun City Girls' iconoclastic hoodoo havoc and the Velvets' primal drug-chug certainly won't be disappointed, Paris 1942 more often than not transcends even these nearly impossible expectations. Srogoncik's songs, in particular, are a revelation, displaying as much in common with the exuberant raunch of The Gun Club and the chapbook punk of Peter Laughner as they do any of the more obvious touchstones.

The group's foresight to document and capture this meeting of musical minds – a meeting as unlikely as it was short-lived – provides a missing link between the Velvets and the Voidoids, between the Dead Boys and the Dead C, between ESP-Disk' and DNA. Far more than a historical curiosity, Paris 1942 provides a fresh perspective on an embryonic and sadly vanishing US underground. It is music that blinks at the past and anticipates a thousand possible futures.

– James Toth (excerpt from the liner notes)

The Original Lineup Reunited
For the first time since their iconic run in the early 1960s, all five founding members—Eric Burdon, Alan Price, Hilton Valentine, Chas Chandler, and John Steel—came together for a raw, soulful reunion. This is the Animals with the benefit of age, experience, and no pressure to chase hits—just great playing.
A Gritty, Understated Gem
Recorded with minimal fanfare in 1977, Before We Were So Rudely Interrupted is a return to the blues and R&B roots that shaped the band's early success. It's stripped-down, honest, and deeply musical—a perfect record for fans of The Rolling Stones, Van Morrison, or Bob Dylan.
Dylan, Jimmy Reed, and the Blues Canon
The album features a standout cover of Bob Dylan's "It's All Over Now, Baby Blue", along with classics from Jimmy Reed, Joe Tex, and Gospel/Blues deep cuts, reinterpreted with grit and grace.
Cult Classic with Lasting Legacy

Two titanic forces in reggae history — Roots Radics and The Mighty Revolutionaires — unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style.
The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves.
Produced and mixed in true dubwise tradition, Outernational Riddim delivers:
Authentic Studio Vibes – Mixed on analog boards with vintage effects and tape echo for that raw, immersive sound.

X-Ray Spex was a British punk rock band that emerged in the late 1970s, known for their distinctive sound, socially conscious lyrics, and the dynamic frontwoman Poly Styrene. The band was active during the first wave of punk rock and played a significant role in the punk movement.
Lead vocalist and songwriter Poly Styrene was known for her unique vocal style and often cited as an influential figure in the punk scene.
Other band members on ‘Germfree Adolescents are Jak Airport: Guitarist / Paul Dean: Bassist / Rudi Thompson: Sax / B P Hurding: Drummer.
X-Ray Spex released their debut album, "Germfree Adolescents," in 1978, featuring the title track, "Germfree Adolescents." The album is considered a classic of the punk era.

Poly Styrene's lyrics often addressed social and consumerist issues, and her unconventional fashion sense and energetic stage presence added to the band's overall identity.

A psych-pop cult classic tracks.
The Orange Bicycle blends Beatles/Beach Boys‑inspired psychedelic-pop style and sun-drenched melodies.
The Orange Bicycle captures the kaleidoscopic charm of late-’60s British psychedelia. Featuring lush arrangements, sitar-laced textures, and soaring vocal harmonies, this LP is a must for fans of The Beatles, The Beach Boys, The Zombies, Tomorrow, or early Pink Floyd.

Originally released in 2007, Worlds Collide captures Apocalyptica at their most adventurous, blending their signature cello-driven metal with an array of powerful voices. From the anthemic “I’m Not Jesus” featuring Corey Taylor (Slipknot, Stone Sour) to the chart-topping hit “I Don’t Care” with Adam Gontier (Three Days Grace), the album bridges classical virtuosity and rock intensity like never before. This special 2LP edition on deep purple opaque vinyl lets you experience the full dynamic range of fan favorites including “Grace,” “SOS (Anything But Love),” feat. Cristina Scabbia and the crushing title track — a definitive statement in Apocalyptica’s genre-defying journey.

After returning from Australia, Brian Baker has wasted no time in making an impact on the NZ scene with much heralded and reviewed singles and film clips, and in particular his solo show which has seen him perform at gigs and Festivals across the country. Now he"s joined two local Whanganui Musicians, Stu Duncan and pro drummer Brad MacMillan, both seasoned performers. The act is called BB and The Bullets and has a focus on the blues, doing tracks by Albert King, BB King, Muddy Waters plus some Stevie Ray Vaughan and other blues classics. They also feature some of Brian"s excellent releases and have a few of their own recorded. These tracks make up their debut LP which will soon be released on vinyl, CD and digital through Nixon Street Recordings, Whanganui"s own international record label. Yes, the guitaring that made Brian"s solo show stand out is heavily on display here, now backed by a tight, live rhythm section. Their shows have been very well received wherever they have performed, getting standing ovations at the recent Bay Of Islands Jazz and Blues Festival where they played six standout shows over three days ! They are drawing crowds wherever they appear, have been invited back to the Capital Blues Inc in Wellington after a knock em dead show there, and were a solid crowd pleaser at Snells Beach this summer for Auckland city council"s Music In Parks series. They are delighting audiences with rock solid, emotive performances of classic blues tracks underlined by undoubtedly one of the finest guitarists New Zealand has produced !

Cornel Wilczek (Talk To Me, Bring Her Back) crafts an incredible score for this body horror future classic from director Michael Shanks, blending the organic and synthetic, merging them to create something new, mesmerising, calm, eerie yet beautiful and oddly melodic. Disembodied voices flow in and out of soundscapes made up of traditional acoustic instruments, strings, and synthesisers. At first listen, the score seems very minimalist, but with repeated listening, it reveals these amazing earworms that stick in your mind. It’s a truly lovely, otherworldly listen, ideal for late nights and headphones.

Kee'ahn, whose name is derived from kee’an, the Wik word meaning to dance and to play, is a proud Yalanji, Jirrbal, and Badulaig artist. Her music is steeped in connection to culture, community, Country, and self and with her soulful voice and storytelling, Kee’ahn has had a powerful impact on the Australian music scene, earning her the Archie Roach Foundation Award and Music Victoria’s Best Emerging Artist award. She has since performed at the 2025 AFL Grand Final collaborating with Baker Boy, Thelma Plum, Emma Donovan, Dallas Woods, Alice Ivy and shared stages with the likes of Julia Jacklin, Hiatus Kaiyote, Greentea Peng and Angie McMahon.

Kee’ahn’s debut EP “for me, for you x” is a collection of lush cinematic soul and rnb love letters. Across 5 tracks, Kee’ahn explores the pursuit of hope, compassion, connection, heartbreak, and healing. This project naturally and authentically came together, detailing moments across 5 years of Kee’ahn’s life. Each song begins on guitar and vocals with demo production in Kee’ahn’s Brunswick bedroom - they are diary entries to herself, formed into messages that hit the hearts of its listeners.

Each song is reminiscent of classic 60’s jazz soul to 90’s neo-soul rnb, to early 2000’s inspired soul pop weaving dynamic soundscapes with clear and meaningful catchy lyricism.

LTD edition Halloween vinyl re-issue

We’ve got a special AA-side vinyl release for all Toolroom and Cutting Recs fans with the original UK Edit of the seminal ‘This Brutal House’ from Nitro Deluxe followed, by the 2023 rework from Toolroom’s founder Mark Knight! A release you do not want to miss!

Sat in-between Electro and House genres, Nitro Deluxe’s pivotal record ‘Let’s Get Brutal’ on legendary imprint Cutting Records helped paved the way for the early beginnings of House music as we know it today. A record that has influenced so many of House music’s iconic artists, from being sampled by Kevin Saunderson (aka Good Life) in their huge hit ‘Big Fun’ and most recently, Mark Knight.

An unmistakable record and one that struck a chord in the early career days of label boss Mark Knight, who simultaneously sought to beef up his current sets in 2023 with the magic of those early House records, when the opportunity arose to update this classic Mark straight in. Keeping this new version sentimental to the original, with all those original synth elements included but laid over the top of an up-to-date Tech House groove with a renewed energy, so that today’s floors will appreciate that seminal riff, all over again.