5 x LP
60-page hardback book
Black vinyl
Printed labels
Printed inners
Slipcase
A2 poster
Slipmat
Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.
More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.
5LP Edition. All original audio remastered from Factory Records master tapes. Includes original album, Hallelujah + Madchester Rave On, Baby Big Head Bootleg Album (Live at Elland Road, 1991), classic and new remixes, 60-page hardback book with brand new essays from James Brown and Central Station designers, fold-out A2 tour poster and Madchester slipmat.
Erleben Sie die zeitlose Faszination der Country- und Westernmusik auf einer hochwertigen LP. Diese Compilation vereint unvergessliche Klassiker und präsentiert die größten Stimmen des Genres – authentisch, emotional und voller musikalischer Geschichte.
Mit legendären Künstlern wie Hank Williams, Patsy Cline, Willie Nelson, Elvis Presley und Johnny Cash bietet diese Vinyl-Ausgabe eine Auswahl der schönsten Country- und Western-Songs aller Zeiten. Von gefühlvollen Balladen über traditionelle Honky-Tonk-Klänge bis hin zu mitreißenden Klassikern – jede Seite dieser LP lädt zu einer musikalischen Reise durch das Herz Amerikas ein.
Highlights:
Große Country- & Western-Klassiker auf Vinyl
Mit den Legenden Hank Williams, Patsy Cline, Willie Nelson, Elvis Presley und Johnny Cash
Zeitlose Songs voller Emotion, Tradition und authentischem Country-Feeling
Ein Muss für Vinyl-Liebhaber und Fans klassischer Countrymusik
Ideal zum Sammeln, Verschenken und Genießen
Diese LP bringt den unverwechselbaren Klang der goldenen
Ära des Country & Western direkt auf Ihren Plattenspieler – ein musikalischer Schatz für alle Liebhaber echter Klassiker
Mexican producer/musician MONSIEUR VAN PRATT returns to our TSTD shores with his second two track Edit trip into the world of Mexican obscure, super rare Coverversions.
His first 7 Inch (with an amazing Edit of a Cover of Bobby Caldwell's "What You Won't Do For Love") has been the most repressed and highest selling Issue in our long ongoing TSTD EDIT Vinyl series.
For the upcoming 7 inch he delivers two brandnew fun reworks:
Side A is a slow disco edit of a super rare Mexican late 70s cover version of Bill Withers' classic love song "Just The Two Of Us".
Side B is a midtempo Rework of a Mexican cover of "Upside Down" by Diana Ross w/ Nile Rogers
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OUR ENDLESS WAR zeigt eindrucksvoll wie moderner Death Metal zu klingen hat!" Metal Hammer (Florian Krapp, 6 von 7 Punkten)
Info:
Wer es brutal will, kommt an diesem Koloss nicht vorbei!
Auch auf dem fünften Album in ihrer beeindruckenden Karriere kennen WHITECHAPEL kein Halten. Our Endless War bündelt alle Stärken, die das Sextett aus Knoxville in Tennessee seit seiner Gründung entwickelt hat. Das Album wurde penibel ausgefeilt und geht partout keine Kompromisse in Sachen Brutalität ein, ist aber zugleich das bisher geradlinigste, atmosphärischste und emotional packendste Album der Bandgeschichte und hievt jeden Aspekt ihres Sounds auf ein neues Niveau.
Music Evolution is the second and last album by the all-star jazz/hip-hop/R&B fusion project Buckshot LeFonque. Led by none other than jazz saxophonist Branford Marsalis and DJ Premier, the project was named after Buckshot La Funke, a one-time pseudonym used by alto sax legend Cannonball Adderley for contractual reasons.
The album features guest performances by rapper Guru, Matrix actor Laurence Fishburne, and the highly regarded session musician David Sanborn. While his brother Wynton holds conservative views regarding jazz, Branford is quite the opposite. On Music Evolution, he effortlessly embraces and fuses hip-hop, R&B, and rock into a sonic explosion infused with the joy of playing. The track "Another Day", featuring the soulful voice of Frank McComb, was especially popular in the Netherlands, reaching number 4 in the Dutch singles chart.
Music Evolution is available as a limited edition of 1000 copies on pink vinyl and includes an insert.
Bruno Silva returns under his Ondness moniker for his most personal album yet.
Recorded as an homage, a reference map, and a temporal slippage back to a transformative period of Bruno Silva's life, I Can Only Put So Much Into a Song conjures the threshold between his shoegaze-leaning teen years and a young adulthood defined by profound sonic landmarks: Iran’s The Moon Boys (whose cover serves as a key influence), The Microphones’ It Was Hot, We Stayed In The Water, Fennesz’s Endless Summer, and the communal, tape- hiss maelstrom of the New Weird America underground—all underscored by a persistent Black Metal tension.
Taking its title from a lyric in Farrah Abraham’s masterpiece My Teenage Dream Ended, this new humble offering from Ondness drifts into the memory of song as half-remembered recollections, as if beamed from a recurring "now" of unfulfilled possibilities.
Die Instrumentalgruppe von Guiding Light hatte bereits ihre ersten Songs fertig, als sie Elise Cook als Sängerin ansprachen - und die hatte wie durch ein Wunder schon fertige Texte parat. Dieser Moment des Schicksals führte zu ihrer ersten EP, elf Minuten und fünfzig Sekunden voller Raserei, die ihren Post-Punk-Sound für kulturell Neugierige definierten. Heute entstehen Cooks Melodien im selben Raum wie das präzise Klimpern von John Morales' Gitarre, der bissige Bass von Rachel Kirk und die hämmernde Intensität von Charles Powell am Schlagzeug. Das Ergebnis ist ,Fear On My Own Time", ein neues Album einer Band, die weiß, was sie kann, und immer besser wird. Man merkt kaum, dass die Aufnahmen in zwei Sessions im Abstand von sechs Monaten entstanden sind, denn man spürt die Dringlichkeit in der Arbeit. So wie Wut zum Handeln antreibt, wird Energie zur Reaktion. Die Erzählung von ,Fear On My Own Time" gewinnt an Umfang, während Reflexionen über eine Trennung zu Erkenntnissen über zwischenmenschliche Verbindungen führen. Selbstkritik speist sich aus Ego, Verwirrung und unverblümter Ehrlichkeit, doch die Wurzel dieser Probleme liegt in einem viel größeren Thema. Die letzten beiden Songs gipfeln in einem Aufruf gegen den Faschismus und zeigen, wie uns - nachdem wir niedergeschlagen wurden - unsere Unfähigkeit, verletzlich zu sein, auseinander treibt. Man muss nicht die für Guiding Light übliche deutsche Sprache sprechen, um das zu verstehen - tatsächlich enthält das Album ihre ersten ins Englische übersetzten Songtexte: ,In the cage - only together we find the key." Wenn wir alle zu Guiding Light tanzen würden, wäre die Welt ein besserer Ort. - Sydney Salk
From São Paulo, Brazil comes CSS, the first South American band Sub Pop has foisted upon the global marketplace. Cansei de Ser Sexy, Portuguese for “Tired of Being Sexy,” is improbably, unbelievably and nearly eponymously their debut. It is a thick, pulsating thing full of haphazard synths (“Alala”) and a come-on of call and response that tears down any attempt at posturing (“Art Bitch,” “Patins”). It is equal parts rock mantra and throwback into something new, transcending boundaries of genre and geography.
It careers full speed into dance territory, into the unknown and untouched, to emerge all hot and bothered with wild electro-rock. Pretension? Absent. Friction? Probable. They are the un-pretension: unfinished, exposed, and throwing all they have right at you. It is quick, tightly-wound, unfastened and supreme. Not a sneer but a giggle. To paraphrase from the Portuguese: “Not only music, but a new way to live with it. An unfinished group that, unlike preserving itself until getting ‘to the point,’ was bravely showing off, turning everything into style.” Fashion. Art. Design. Cinema. Panties thrown and received. Micro shorts and dirty legs. How does it happen? It happens like this…
Everything Beautiful Died Early is a raw and cinematic collaboration between Washington D.C. rapper Ankhlejohn and Bronx producer V Don — a meeting of two uncompromising underground voices. Blending Ankhlejohn’s vivid street poetry and unfiltered introspection with V Don’s dark, soulful production, the album captures the tension between survival, ambition, and loss. DC meets the Bronx across a body of work that feels both grimy and reflective, rooted in East Coast tradition while pushing its own unmistakable atmosphere.
The project also features standout guest appearances from CRIMEAPPLE, Babymaine, and Sha Hef, adding even more depth to the album’s cold, streetwise aesthetic.
With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).
Manchester-born poet, writer, and producer Antony Szmierek has announced the release of his second album, Decoding Birdsong. Just eighteen months after his critically acclaimed debut, Szmierek returns with a new body of work that signals a clear evolution in both sound and scope. Rooted in his personal touchstones within electronic music, the album pairs expansive, immersive production with his trademark razor-sharp lyricism.
Where his debut had been a solo endeavour, Decoding Birdsong brims with collaboration, including Australia’s Pretty Girl, London band Los Bitchos, and Bristol producer 1-800 GIRLS, as well as Imogen and the Knife and indie pop star Ellur.
Als Gitarrist Grant Green im September 1964 zum ersten Mal mit dem Hammond-Organisten Larry Young
und dem Schlagzeuger Elvin Jones ins Studio ging, um das mitreißende Trio-Album “Talkin’ About!”
einzuspielen, lag Hochspannung in der Luft. Zwischen den drei Musikern entwickelte sich auf Anhieb eine
besondere Chemie, die nach einer Fortsetzung der Zusammenarbeit verlangte. Bereits zwei Monate später
kehrten sie mit dem Vibrafonisten Bobby Hutcherson ins Studio zurück, um das Album “Street of Dreams”
aufzunehmen, auf dem sie sich von ihrer subtileren Seite zeigten. Bei der Zusammenstellung des Repertoires, das von atmosphärischer Eleganz geprägt ist, setzten die Musiker auf seltener gespielte Standards
und Songs, die normalerweise nicht von Jazzinstrumentalisten aufgenommen werden.
Man könnte fast meinen, dass Jimmy Smith um jeden Preis seine Vielseitigkeit beweisen wollte, als er
im Februar 1958 mit seiner Entourage in den Ballsaal des Manhattan Towers Hotels einzog, der von Rudy
Van Gelder in ein Aufnahmestudio umgewandelt worden war. Binnen zwei Tagen machte der Meister der
Hammond-B3-Orgel dort Aufnahmen für drei sehr unterschiedliche Platten. Am 25. Februar zunächst mit
einem mit Blue-Note-Stars gespickten Sextett für das ausgelassene Album “House Party” und das eher
bluesig-andächtige “The Sermon”. Am darauffolgenden Tag ging er mit zwei unterschiedlichen klassischen
Orgel-Trio-Besetzungen erneut zu Werke, um “Softly as a Summer Breeze” einzuspielen - ein schwungvolles
Album mit teils balladesken Standards, einer cool groovenden Eigenkomposition und einem Stück von Thelonious Monk.
Completes the vinyl collection of Los Mockers, alongside the reissue of their original 1966 LP, this two handful of tracks, previously unreleased or out of print, traces the journey of five teenagers who, clinging to rock & roll, became legends. Blending the raw energy of 1960s rock & roll with rhythm & blues roots and later-day musical maturity, Los Mockers left a lasting mark on the Río de la Plata scene f rom their explosive beginnings to their 21st-century comeback. REWIND brings together rare recordings spanning nearly sixty years: from mid-1960s demos and singles to reunion sessions recorded between 2006 and 2012, i ncluding deleted material and an unreleased live track. Side A captures the band's early fire, opening with a 1965 demo of "I Just Want to Make Love to You," recorded under their original name, Los Encadenados, at Radio Ariel in Montevideo. It also includes their first original singles, "I Wanna Go" and "My Baby," plus the unreleased "Girl You Won't Succeed" and a fast, distinctly Uruguayan take on "Paint It Black." Side B focuses on the reunion era recordings made in Valencia, Spain, where the band revisited their legacy with renewed strength and craftsmanship. Tracks like " Need Some Time," "40 Years Ago," and "The Chain" show a seasoned group still driven by authentic rock & roll spirit, while "25 Watts" pays tribute to filmmaker Juan Pablo Rebella. The album closes with a powerful 2012 live version of "Tell Me Something New."
Their follow up to the acclaimed ‘Anda Jaleo’. A document of Josephine Foster's magical partnership with Victor Herrero breathing new life into timeless traditional melodies, drawing from the Spanish-folk traditions of Castile, the Basque, Santander and the Costa Brava. ‘Perlas’ is debonair, contemporary and redolent of that old seductive charge.” The Wire. Elemental themes of love bind the collection together, with a melancholy joy that casts a shadow of desire and loss. “The alt-folk fixture returns to more traditional material.” Pitchfork.
A live recording of “Las Canciones”; a visceral celebration of the persistence of popular anonymous song based on the work of legendary socialist poet Federico García Lorca, a Granada born literary pioneer. Featuring songs from his 1931 collection of mysteriously beautiful flamenco tunes. A poetically rich collection created by Foster and Herrero for their acoustic band, formed while living in the Grenadine Sierra. “Foster’s vocals, met by husband Herrero’s frantic and raw gypsy-band orchestration, demonstrates the sense of urgency in the music’s message well and carries ‘Anda Jaleo’ to an elevated state.” The Line Of Best Fit... “The alt-folk fixture returns to more traditional material.” Pitchfork.
Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993, & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.
With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.
‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).
Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.
The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.
The Womack Sisters – Kucha, Zeimani und BG Womack – sangen schon, bevor sie laufen konnten. Ihr gleichnamiges Debütalbum „The Womack Sisters“ aus dem Jahr 2026 ist der musikalische Höhepunkt der langen und kurvenreichen Reise der drei Schwestern auf der Suche nach sich selbst. In einer Sammlung von Stücken voller intensiver Soul-Power, die an eine Zeit erinnert, als Popmusik noch Substanz, Atmosphäre und Sinn hatte, kommt jede ihrer unverwechselbaren Stimmen im Rampenlicht zur Geltung.
Die Schwestern wuchsen auf der Straße auf. Ihre Schulen waren Bühnen und Studios auf der ganzen Welt, wo sie hinter ihren Eltern, Zekkariyas & Zeriiya (ehemals Womack & Womack), zusammen mit ihren vier Geschwistern sangen. Nirgendwo waren sie lange zu Hause. Egal, wo sie lebten – London, Thailand, Amsterdam, Kenia, Paris, Sydney, Zürich, Wien, Tansania, New York, Miami, West Virginia, die Bahamas – sie waren immer von Musik und Familie umgeben.
Als Enkelinnen des legendären Sam Cooke und Nichten von Bobby Womack stammen die Schwestern aus einer Soul-Dynastie, die tief in ihrem musikalischen Wesen verwurzelt ist. Das Album „The Womack Sisters“, das am 14. August bei Daptone Records erscheint, blickt nach vorne, indem es zurückblickt: Es ist eine Hommage an die Tradition ihrer Familie und schafft gleichzeitig einen Sound, der ganz und gar ihr eigener ist.
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Coming in hazy and heady, an end-of-summer cosmic jammer from Nick Mitchell Maiato, full of big choruses, blazing guitars, country honk, and deep grooves—replete with funky horn section. It’s been four years since Poolside, the last release by One Eleven Heavy (Mitchell Maiato’s sometimes-band with James “Wooden Wand” Toth), and that time has clearly been used for some serious woodshedding on the auteur’s part. On Náquera, named after the Spanish pueblo in which he resides, Mitchell Maiato’s songwriting, vocals, and guitar playing all come into sharp focus as he mans the wheel on an ocean drive of interwoven electric guitar dueling, funky multi-movement jams, bittersweet odes to uncomplicatedness, and rolling rockers. Featuring an effortlessly graceful preface by Macon, GA piano prodigy Gavin Rushing, “Riki Rachtman” is a cosmic americana ballad examining the state of heavy metal in contemporary pop culture from the perspective of a disgruntled first-person narrator. “Critical Mass” is a soaring, two-chord ode to dropping out, with an opening organ salvo by Grateful Dead midi-tech Bob Bralove, a monster, key-changing guitar duel at its core, and a fat, snaking bass groove by Otto Wilberg (Mitchell Maiato’s former colleague in Desmadrados Soldados De Ventura).“Flamebait” is one of the record’s big surprises with its almost Lennon-esque rock-and soul slab of technocracy bashing, its woozy, three-part horn section, and its improvised, sun-scorched guitar solo slap-dab in the middle.And, on “The Angle,” we get an homage to rock-and-roll pool hustler narratives framed within an expansive country-funk jam that nods to Mitchell-Maiato’s love of Parliament and Grateful Dead in equal measure.
Archaic Vaults is proud to present »Ley Lines«, the debut album by St Circul.
Concise collection of folkloric grime instrumentals to rise from a new moniker taken on by the elusive First Circle. A breadcrumb trail of effortlessly crafted early 2000s-era grime, trap and drill instrumentals can be found on a fairly sparse Soundcloud account and numerous NTS shows spanning the last ten years, on which he is known to play almost entirely his own material. Now a different energy takes hold on »Ley Lines«: ten tracks by the enigmatic producer to be released both on a label and in physical format for the first time.
»Ley Lines« was born from a meandering quest through South London’s more leafy dwellings. These cherished regions became a place of refuge in which to ruminate on the hopes that love and community can outlast the dwindling state of Britain’s social and political climate. Photo documentation was made which would later form the genesis for each track, and a return to the studio resulted in something which could not be fitted into the existing First Circle discography.
Harpsichord and brass samples (»A Plan Is Formed«, »Hilly Fields«) are underpinned by murky bass loops and tight militaristic percussion – motifs recognisable amongst white label grime’s most influential producers (Wiley, Skepta, Lewi White etc.) that push the formula into far more rapturous territories than any of FC’s previous productions. The more introspective moments of the album (»Wares at the Ivy House«, »Blythe Vision«) put local field recordings and devotional reverberant ambience to the forefront, alluding to St Circul’s proto-dungeon synth influences and giving the whole album a unique world all its own.
Archaic Vaults is proud to host an album which shares intrinsic roots with the label’s own South London birthplace. »Ley Lines«’ ten tracks of psychogeographic drifting are available in digital and limited cassette format via Archaic Vaults.
Mastered by Owen Pratt Design by Severin Black Artwork image by St Circul
WRWTFWW Records is extremely excited to announce the first ever vinyl release for Pizza Hotline’s brilliant 2022 full-length Level Select, originally only released on cassette and digital. The liquid drum & bass meets Y2K era video gaming aesthetics monster is now available in a limited edition transparent vinyl double LP with a glorious 45rpm cut, packaged in a heavyweight 350gsm sleeve.
Entirely written and composed by UK producer Pizza Hotline (apart from "GLACIER ZONE", a collaboration between Pizza Hotline and DJ Total 90), the stellar 8-song album was initially released as a limited cassette in January 2022 and quickly gained cult status - making a full-on vinyl release quite the necessity. It’s here now with the the previously unreleased track "POLYGON DREAMSCAPE" (which sounds as magical as its title) and 45rpm cut for louder, bigger, deeper bass rumbling.
Spellbinding, atmospheric, and beautifully melodic, Level Select is a large scope dreamy adventure of liquid DnB filled with ambient escapades, ethereal jungle, high vibe breaks, and a heavy loving dose of late 90s / early 2000s video game influences. Hypnotic late night hype and pensive chill moods mesh with ease in a cinematic soundscape that re-contextualizes and gives a new life to a beloved music genre - LTJ Bukem, Peshay, the Wipeout OST or Soichi Terada's Ape Escape come to mind, and sounds and soundtracks from the Sony Playstation, the Nintendo 64, and the Sega Saturn resonate from the speakers. It’s all fresh with a subtle nostalgia and so much heart. An instant classic.
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"aethermead", das neue und 20. Studioalbum von Of Montreal, lässt die Sounds der frühen Jahre wieder aufleben, während es gleichzeitig die künstlerischen Grenzen ihres unverkennbaren Indie-Pop/Rock-Stils erweitert. Frontmann & Songwriter Kevin Barnes, bekannt für seinen einzigartig-produktiven Output und großartigen Kollaborationen mit Künstlern wie Solange, Janelle Monáe und Jon Brion, nahm die LP mit Toningenieur Drew Vandenberg (Faye Webster, Toro y Moi) in seinem neuen Heimatort Brooklyn auf. Die Grundspuren wurden live mit Barnes’ langjähriger Live-Band auf einer 16-Spur-Bandmaschine eingespielt. Das Ergebnis schimmert mit Indie-Pop-Elementen ihres 2004er Albums "Satanic Panic In The Attic" sowie der rohen, energiegeladenen Live-Atmosphäre von "Lousy With Sylvianbriar" (2013). Wunderschön-melodische Akkordfolgen wechseln sich mit Rock'n'Roll-Krachern ab, auf eingängige Hymnen folgen surreal-experimentelle Klangwelten. Mit einer neuen Tour am Horizont (erstmal durch Nordamerika) feiern Of Montreal weiterhin ihr Vermächtnis und gehen gleichzeitig mutig in die Zukunft.
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- After the collector 2024 Record Store Day 35th Anniversary edition & Special CD boxset of the seminal 1989 album, the album will be available again to everyone from July 31st , 2026 as 1CD & 1 LP Black new permanent editions.
- Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order).
- Vinyl mastered by Peter Beckmann at Technology Works
- July 31st also marks the long-awaited return of legendary Manchester outfit The Durutti Column, with "Renascent" their first new studio album in over fifteen years which already get a very strong response & support from key traditional media - with major features confirmed for Pitchfork, The Guardian, MOJO, Monocle and Record Collector to name a few.
- Many new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis).
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Mit „Beethoven Blues“ startete Jon Batiste 2024 seine ”Batiste Piano Series”. Am 14. August setzt der
mehrfache Grammy- und Oscar-Preisträger die Reihe mit den drei Piano-Alben „Black Mozart“, „Monk
Meditations“ und „Monk Movements“ fort. Neben seiner Auseinandersetzung mit Mozart widmet sich
Batiste auf zwei Alben der Jazzlegende Thelonious Monk, dessen Werk er als modernes Gegenstück zur
Klassik versteht. Während „Monk Meditations“ Monks Musik in meditative Klangwelten überführt, interpretiert „Monk Movements“ dessen Kompositionen als virtuose Klavierstücke neu. Gemeinsam schaffen
die drei Alben einen musikalischen Dialog zwischen Mozart, Monk und Batistes eigener Handschrift.
Mit „Beethoven Blues“ startete Jon Batiste 2024 seine ”Batiste Piano Series”. Am 14. August setzt der
mehrfache Grammy- und Oscar-Preisträger die Reihe mit den drei Piano-Alben „Black Mozart“, „Monk
Meditations“ und „Monk Movements“ fort. Neben seiner Auseinandersetzung mit Mozart widmet sich
Batiste auf zwei Alben der Jazzlegende Thelonious Monk, dessen Werk er als modernes Gegenstück zur
Klassik versteht. Während „Monk Meditations“ Monks Musik in meditative Klangwelten überführt, interpretiert „Monk Movements“ dessen Kompositionen als virtuose Klavierstücke neu. Gemeinsam schaffen
die drei Alben einen musikalischen Dialog zwischen Mozart, Monk und Batistes eigener Handschrift.
Roy Montgomery, a key figure in the experimental underground rock scene, lives in Christchurch, New Zealand, just a short drive from the sea. Avant-garde vocalist and songwriter Martha Skye Murphy is based in London. Though geographically worlds apart, the pair inhabit an intimate and almost tactile shared sonic world. Their collaboration feels transformative, like the gradual shifting spell from night to day.
What draws them together is the emotional force of each other’s music. Montgomery’s cyclical, decaying compositions are shaped through intricate guitar and piano work, blending post-rock, folk, and drone. Murphy, meanwhile, possesses a rare gift for transformation, from the intimate cracked whispers of 'At Dawn' to the hypnotic drift of 'The Play of Dark and Light'. On the latter, she evokes old maritime folk tales of fishermen lured into the darkness by the sea’s siren call. The song both seduces and warns, finding something magical and frightening in the temptation of drowning. Though her vocals often resemble fragments of words, consonants, or vowels, they frequently function as pure sound, drawing on glossolalia and prioritising feeling over any ‘learnt’ language.
Emotion and intuition are the driving forces behind Nebular, an album that oscillates between the intimate with the unknown. This spirit is reflected in its artwork. Murphy shared a painting by Irish artist Simon English depicting a solitary house bathed in dusky blue light, and the pair quickly settled on it as the cover image. Both were captivated by its atmosphere. Montgomery related it to the isolated, seemingly uninhabited houses he encounters while travelling through rural New Zealand—places that inspire a desire to knock on the door and discover what lies beyond. “Terra incognita springs to mind. A search into the unknown,” Murphy agrees.
The nocturnal and remote nature of the artwork mirrors the process of making Nebular. With Montgomery in New Zealand and Murphy in London, the album was created entirely through remote correspondence, with stems exchanged via email. Their messages were often written and read at different times of day, and, because of the time difference and the demands of daily life, replies usually were sent late at night and the music too often composed at nocturnal hours. Their exchanges took on the quality of pen pals sending letters across great distances. This suspended sense of time is echoed in Nebular’s sound, with its feeling of temporal drift and timelessness.
On Nebular, Montgomery and Murphy have harnessed raw emotion and launched it into a time capsule bound for the stars. It allows you to drift, to be present, and to feel; creating something timeless.
Sweeping Promises wurden der weltweiten Punk-Underground-Szene durch ihr Debütalbum "Hunger for a Way Out" bekannt, das sich während des Pandemie-Lockdowns zu einem der größten Überraschungserfolge der Musikszene entwickelte. 2023 legten sie mit ,Good Living is Coming for You" nach, einer satirischen, hyperkritischen Abrechnung mit dem Kapitalismus, die es auf die ,Album des Jahres"-Listen von Pitchfork, NPR, Paste und der BBC schaffte, um nur einige zu nennen. Bassistin/Sängerin Lira Mondal und Gitarrist Caufield Schnug beschlossen, ihren Ansatz auf ihrer dritten LP ein paar Grad weiterzuschrauben. Das große Thema von "You Say I Romanticize" wird bereits im Titel angedeutet. Ausgehend von einer Textzeile aus dem Album-Closer ,Write Lightly" - einer Erzählung darüber, wie die Bedeutung des Selbstausdrucks beim Schreiben durch ,professionelle" Bedenken zunichte gemacht wird - sind viele der Charaktere, die Sängerin/Bassist Mondal hier ausarbeitet, Ausgestoßene, von der Gesellschaft an den Rand gedrängt und zu Fanatikern für eine Fülle spezifischer Anliegen geworden. Das viszerale Songwriting auf You Say I Romanticize wird von einem ebenso viszeralen musikalischen Ansatz begleitet. Sweeping Promises holten den Live-Schlagzeuger Spenser Gralla in die Aufnahmesessions, um den Songs eine ähnliche Dringlichkeit wie bei ihren Live-Auftritten zu verleihen. Die Raserei der Ausführung zeigt sich auch in Mondals Gesangsdarbietungen. Neben der Liebe von Sweeping Promises zu ihrer künstlerischen Gemeinschaft existiert auch eine Schattenseite - entstanden aus Sonderlingen, die ihren ,Ausgestoßenen"-Status in lebendige Kunst und Punkrock-Musik umwandeln. "You Say I Romanticize" greift das Ethos auf, das Mondal und Schnug entwickelt haben, und erforscht die obsessiven, fanatischen Aspekte des Ausgestoßenseins und der Isolation durch die Mainstream-Gesellschaft.
Mit »Halo Effect« – ihrem ersten Album bei Earache – landete die Band auf Platz 1 der Rock-&-Metal-Album-Charts und auf Platz 5 der offiziellen britischen Album-Charts.
Nach Kris' eigenen Angaben war dies jedoch für seine Kernfans vielleicht eine zu große Umstellung, da er den Einfluss von Modern Metal und einer wiederauflebenden Nu-Metal-Szene aufnahm. »Monsters We Made« ist seine Antwort auf all das. »Wir wollten große Mitsing-Refrains, große Riffs, große Soli«, sagt er. »Die Art von Hardrock, die in Arenen zu Hause ist; dicht, komplex und fähig, die größten Menschenmengen zu begeistern.«
The Womack Sisters – Kucha, Zeimani und BG Womack – sangen schon, bevor sie laufen konnten. Ihr gleichnamiges Debütalbum „The Womack Sisters“ aus dem Jahr 2026 ist der musikalische Höhepunkt der langen und kurvenreichen Reise der drei Schwestern auf der Suche nach sich selbst. In einer Sammlung von Stücken voller intensiver Soul-Power, die an eine Zeit erinnert, als Popmusik noch Substanz, Atmosphäre und Sinn hatte, kommt jede ihrer unverwechselbaren Stimmen im Rampenlicht zur Geltung.
Die Schwestern wuchsen auf der Straße auf. Ihre Schulen waren Bühnen und Studios auf der ganzen Welt, wo sie hinter ihren Eltern, Zekkariyas & Zeriiya (ehemals Womack & Womack), zusammen mit ihren vier Geschwistern sangen. Nirgendwo waren sie lange zu Hause. Egal, wo sie lebten – London, Thailand, Amsterdam, Kenia, Paris, Sydney, Zürich, Wien, Tansania, New York, Miami, West Virginia, die Bahamas – sie waren immer von Musik und Familie umgeben.
Als Enkelinnen des legendären Sam Cooke und Nichten von Bobby Womack stammen die Schwestern aus einer Soul-Dynastie, die tief in ihrem musikalischen Wesen verwurzelt ist. Das Album „The Womack Sisters“, das am 14. August bei Daptone Records erscheint, blickt nach vorne, indem es zurückblickt: Es ist eine Hommage an die Tradition ihrer Familie und schafft gleichzeitig einen Sound, der ganz und gar ihr eigener ist.
Scum rock low-lives Louse return with their Sophomore LP, Buyer’s Remorse - an unrefined but levelled-up dip back into the murk, keeping it in the family one more time on Riot Season records (a label which now, fittingly, features genre luminaries Brainbombs).
More cohesive, more negative but no less disgusting than debut record Creep Call, the band have further enhanced their pummelling, single-riff ritual M.O. with even more strop-razor guitars, crank-fuelled slide-bass, strangled sax and sinister missives from the void.
Buyer’s Remorse includes unspeakable meditations on an unmatched litany of losers, including: inept hitmen/serial killers, snuff-flick refund naivety, disturbing fellatio lessons, burying yourself alive to escape the law (“you’ll never get me in the slammer”) and having a damn good time being chopped into luncheon (take a ride on the meat slide!)
Snubbed from all but the best festivals, Louse continue to eke out a steady stream of shows, with highlights such as glorious sweat-boxes in our beloved Torino, Monza and beyond in the EU with BRAK, being the first band to play Mickey Zogg’s Basement in Bristol with Beau Wanzer and multiple distinguished appearances at Café Oto with legend and fellow RS label-mate Shit & Shine.
Right-thinking taste-makers have decreed that Louse “exist in an alternate reality where The Fall and The Birthday Party are one and the same band”, and that their songs are “all at once unsettling, loose, filthy, untamed, distorted and fucked up, but most of all rocking, creative and unique”.
Buyer’s Remorse is no exception, having been wrangled into perfection by long-time collaborator James Atkinson (The Stationhouse Studio) and none other than Rectal Hygienics’ Matt Ibarra (STR Mastering) this is truly scum rock at its finest - all at once punishing, ugly and brutal; but listen to that groove (oh my!)
Louse are
The Captain - Vocals, Septic Pete - Guitar, The King of Sting - Guitar , Uncle Brutus - Guitar Mister P. - Drums, Dieta Di Patate - Slide Bass
The blissed family band is back! TENGGER have always moved together, through time, space & genre. 'SKY' arrives as a new chapter: a little more still, a little more inward, while keeping all the warmth that's always been at the heart of what they do.
Embodying the band name meaning "endless sky" in Mongolian and "vast sea" in Hungarian, their 8th album 'SKY' centres on the feelings of boundless, infinite expansion. Conceived as one continuous environment rather than a collection of tracks, the album unfolds slowly through luminous synths, patient drones and Itta's breath-like vocals.
Like a soft big sky you can actually float on: 'SKY' is vast, warm, and wide open.
"Rather than a specific emotion, we hope the record opens a certain awareness — that the sky is not just something to be seen. Through it, we sense a connection to something much larger — a feeling of being linked to the wider universe. This sense of connection runs through the entire record."
After Diogo’s hit record, we are following it up with another set of swinging dance floor detonators! Arriving directly from Brasil, Sérgio presents itself as another moniker from one of the greatest creative minds in all South America, Gabriel Guerra. With dozens of releases scattered over Future Times, Superconscious Records, LAMA, Got Tun, Balaclava Records, or his own 40% Foda/Maneiríssimo, he lands on our lap with a couple of highly effective, UK infused, and slightly nostalgic dance tracks. We’ve allways neutered a profound sense admiration for everything that Guerrinha was releasing under his 40% Foda/Maneiríssimo label, and had the feeling that his vibe was definitely one that we could relate to. Happy, a little wacky, and truly unpretentious dance floor madness! From acknowledging that, to reaching out was just a step. He was super available to work with us, and after the first talks he promptly provided us with a google drive folder with more of 100 unreleased tracks… Yes! You heard it! More than 100 gems of pure creativity ranging from all kinds of genres and across a fucking multiverse of alias and alter egos! So yes, that’s the kind of creative genius we are talking about… Moving from this “garagy” universe, Guerrinha presents us with a set of super fun tracks, which both leans over this infamous side of dance music, as well as it keeps an eye open for the most blatant forms of pop culture. Pure and simple dance floor tracks, to be enjoyed with a smile on your face.
"Is this the sound Sérgio?" or "Is this Sergio's sound?". The question of the questions seems silly, but it was postulated in 2019 to answer Guerrinha a new sound idea: A super appealing garage sound, so that any kind of doubt about the fact that Guerrinha's sets being fun, and that he himself would be able to mix swinging rhythms, would be eliminated. Sérgio is Guerrinha’s pseudonym for this, and since its first release in 2019 with the album “Utensílios” it has strangely become his most played alias, with a few small hits in the small Brazilian scene. After the pandemic drama, he returned in 2022 with the album "Mais Utensílios" and the single "Fantabobi / Riquititas", two releases that again grew the good problem of other djs constantly asking Guerrinha for these tracks. Now he releases the 12'' "Pelo da Churreia" via Discos Extendes, made in 2020 and containing small garage hits from that time. All this information raises the initial questions, since Sérgio is not just a pseudonym, but the curse that grew inside Guerrinha himself, sometimes it's in the appeal that “the bug catches on”.
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This album is about the feeling of wanting something more than anything else in life. That looks different for everyone, but for me, it looks like wanting a life that truly feels like it belongs to me. Not an occupation, not money, not a social status. I love making music and being in rooms where that’s celebrated, and if I want to use the life I didn’t ask for to do that, I should be able to. This record is about what it feels like to do that, putting everything else second and the dream first. I think we were able to express all of that in these songs. Musically, this record includes everything we love about rock music. Big guitars, catchy leads, intense vocals, and honest lyric writing. This is the most collaborative Chico release to date
Das Talent von The Script, Songs voller berauschender Emotionen und immer monumentalerer Melodien
zu schreiben, hat Fans auf der ganzen Welt in seinen Bann gezogen – ein Erfolg, der zu einem Katalog
weltweiter Hits wie „Hall of Fame“, „The Man Who Can’t Be Moved“ und „Breakeven“ führte. Auf
ihrem nunmehr achten Studioalbum arbeitet Danny O’Donoghue wieder mit seinen Songwriting-Partnern
Andrew Frampton und Steve Kipner zusammen – jenen Hit-Garanten, mit denen er und Mark Sheehan
eine ganze Reihe der bekanntesten Songs von The Script schufen, darunter „Breakeven“ und „The Man
Who Can’t Be Moved“. Ebenfalls mit von der Partie ist Produzent und Songwriter Jimbo Barry („Hall
of Fame“, „Superheroes“, „The Last Time“). Die Lead-Single „Man In The Arena“ ist eine mitreißende,
trotzige Hymne – untermalt von packenden, martialischen Trommelrhythmen –, die all die Erfahrungen und
weltweiten Erfolge der Band aus den letzten zwei Jahrzehnten aufgreift und ihren Status als unumstrittene
Pop-Rock-Giganten festigt. Wie ihre leidenschaftliche und treue Fangemeinde nur zu gut weiß, besitzen
The Script zudem jene entscheidende Qualität: eine echte, emotionale und tief in der Seele verankerte
Verbindung. Genau diese belebende und verbindende Idee bildet das Herzstück von *The User’s Guide to
Being Human* – jenes Element, das in der Musik, im Leben und bei The Script über allem anderen steht.
Denn schließlich gilt: „Sag mir, was zur Hölle wir eigentlich tun, wenn wir als Menschen nicht einfach nur
menschlich sind.“
Mit dem Album “Giblet Gravy” feierte George Benson 1968 seinen glanzvollen Einstand bei Verve Records.
Der damals 24-jährige Gitarrist war zu dem Label geholt worden, um die Lücke zu füllen, die Wes Montgomery durch seinen Wechsel zu A&M Records hinterlassen hatte. Und Benson bewies gleich, dass er weit
mehr als nur ein “Lückenfüller” sein würde. Mal präsentierte er sich in einem agilen Quintett-Format (mit u.
a. Herbie Hancock, Ron Carter und Billy Cobham), dann mit einer Bigband und Background-Sängerinnen.
Im Mittelpunkt der Musik stehen jedoch stets Bensons flüssige Artikulation, seine bluesgeprägte Phrasierung
und seine rhythmische Gewandtheit. Das Repertoire vereint zeitgenössische Popstücke, Standards sowie
eigene Kompositionen und verdeutlicht die stilistische Bandbreite, die Bensons späteren Crossover-Erfolg
kennzeichnen sollte.
Original Jazz Classics celebrates John Coltrane’s centennial with this release of the mono edition of Coltrane. Originally released on Prestige in 1957 the album features Coltrane alongside Johnnie Splawn, Sahib Shihab, Red Garland, Mal Waldron, Paul Chambers, and Albert “Tootie” Heath. This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.
Lunatic are a fuzzed out band from Melbourne, Australia Loud bangers. The answer to all things: No! Recorded at Cellar Sessions Studio, Melbourne, Vic, Australia in November 2025, engineered and Recorded by Max Ducker. Mixed and Mastered by David Forcier. Cover Art by Matthew Clarke BAND: Drums Ando Varone / Bass Liam Keneally / Guitars Dick Straight / Guitars & Vocals Pugs Lyngcoln
Produced by Billy Mannino (Oso Oso, Prince Daddy & The Hyena, Macseal), Kerosene Heights' LP Blame It On The Weather cements the band's place as one of the greatest of this current wave of punk/emo revival. BrooklynVegan writes "...it’s been a minute since I’ve heard a band do mathy Midwest emo as clear, punchy, and hook-driven as Kerosene Heights are doing it.” Blame It On The Weather (their first LP with SideOneDummy Records) releases August 15, and they'll be on the road supporting this rollout every month the rest of the year including tours with TRSH, Free Throw, Dikembe, Michael Cera Palin and more, and appearances at Warped Tour and FEST in Gainesville.
FFO: Joyce Manor, Glocca Morra, Fiddlehead, Prince Daddy & The Hyena, Michael Cera Palin, etc.
Produced by Billy Mannino (Oso Oso, Prince Daddy & The Hyena, Macseal), Kerosene Heights' LP Blame It On The Weather cements the band's place as one of the greatest of this current wave of punk/emo revival. BrooklynVegan writes "...it’s been a minute since I’ve heard a band do mathy Midwest emo as clear, punchy, and hook-driven as Kerosene Heights are doing it.” Blame It On The Weather (their first LP with SideOneDummy Records) releases August 15, and they'll be on the road supporting this rollout every month the rest of the year including tours with TRSH, Free Throw, Dikembe, Michael Cera Palin and more, and appearances at Warped Tour and FEST in Gainesville.
FFO: Joyce Manor, Glocca Morra, Fiddlehead, Prince Daddy & The Hyena, Michael Cera Palin, etc.
Defined by complex rhythms, low-tuned guitars, and an intense live energy, the band pushes the boundaries of contemporary heavy music. The band features Emilia Moncayo (vocals, synths), Amadeus Galiano (guitar, bass), and Carlos Sanchez (drums), each bringing a distinct musical background that merges extreme metal with progressive and electronic influences. Their combined technical precision and creative approach shape MINIPONY's intricate compositions and evolving sonic identity. MINIPONY has performed across Latin America and Europe, sharing the stage with iconic acts such as Meshuggah and touring alongside Fear Factory. They have also appeared at major international festivals including 70,000 Tons of Metal and Hell and Heaven Fest, Summer Breeze building a strong reputation for their powerful and immersive live performances.
Defined by complex rhythms, low-tuned guitars, and an intense live energy, the band pushes the boundaries of contemporary heavy music. The band features Emilia Moncayo (vocals, synths), Amadeus Galiano (guitar, bass), and Carlos Sanchez (drums), each bringing a distinct musical background that merges extreme metal with progressive and electronic influences. Their combined technical precision and creative approach shape MINIPONY's intricate compositions and evolving sonic identity. MINIPONY has performed across Latin America and Europe, sharing the stage with iconic acts such as Meshuggah and touring alongside Fear Factory. They have also appeared at major international festivals including 70,000 Tons of Metal and Hell and Heaven Fest, Summer Breeze building a strong reputation for their powerful and immersive live performances.
Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York.
By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks.
Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. Press for Stanley Brinks and Freschard.
“an absolute joy.” Q.
“...a set that’s as wistful and charming as it is playful and self-concious.” Uncut.
“quietly charming” Pitchfork.
Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York.
By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne alongside his brother, David-Ivar. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks.
Under this moniker he has recorded well in excess of 100 albums, collaborated with the New York Antifolk scene on numerous occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. Press for Stanley Brinks and Freschard.
“an absolute joy.” Q.
“...a set that’s as wistful and charming as it is playful and self-concious.” Uncut.
“quietly charming” Pitchfork.
A phenomenal new vocal talent with uncompromising vision, SIENNA SPIRO is here with her debut album, Visitor, a striking opening statement from an artist of undeniable longevity. Visitor Features Billboard charting & RIAA Platinum & Gold singles “Die On This Hill” & “You Stole The Show”, as well as new hit single “The Visitor”. Having amassed over 1.3 Billion streams ahead of her debut album, SIENNA matches her dazzling musicality with a fierce dedication to crafting music of true substance.
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Seminal sounds from the golden age of Ghanaian music. Highlife, rock, and soul collide and merge with tradition and culture. New styles meet old styles. A new generation renews old musical customs. New fashions meet old fashions, creating new fusions. Features rare tracks from Hedzoleh Soundz, Ogyatanaa Show Band, Honny & the Bees and early Ebo Taylor (Asaasa Sa). These tracks were originally available on vanishingly rare 70s pressings, then a highly collectible 5LP box set released in 2009. This special vinyl edition is produced in conjunction with the James Barnor archive, featuring a previously unpublished 1976 photo from the archive of Ghana’s most famous photographer. Comes with Obi-strip.
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Vuo Records continues its elemental series from the Finnish cold. Five artists, one theme, dub-heavy textures and smouldering house rhythms that burn slow and deep. Monoder, Tm Shuffle, Cyclic/Random, Holm Torrance, and Dib each bring their own heat.
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Nat King Cole remains one of the most iconic and cherished voices in popular music, celebrated for his warmth, sophistication, and effortlessly smooth delivery that helped define a generation. Compiled here is a stellar array of his most memorable recordings, spanning romantic ballads such as "Unforgettable," "Mona Lisa," and "When I Fall in Love," as well as lively favourites like "(Get Your Kicks on) Route 66," "Straighten Up and Fly Right," and "Ramblin' Rose.
Black Screen Records once again teams up with composer Chris Christodoulou and Hopoo Games for a vinyl repress of the classic original soundtrack to Risk of Rain 2. At the request of Christodoulou, the new edition of the triple vinyl comes on heavy 180g black wax, the way he enjoys the format the most. The set is housed in a beautiful trifold sleeve with the original artwork illustrated by Italian artist Daniele Giardini. All 20 songs have been carefully remastered by Christian Bethge (Risk of Rain, Deadbolt, Divinity: Original Sin II, A Plague Tale) for the vinyl format. With Risk of Rain 2 the classic multiplayer rogue-like returns with an extra dimension and more challenging action. No run will ever be the same with randomized stages, enemies, bosses, and items. Play solo, or team up with up to four friends to fight your way through hordes of monsters, unlock new loot, and find a way to escape the planet. In his third collaboration with Hopoo Games, Chris Christodoulou returns to the Risk of Rain franchise adding another dimension to the game's music-verse. This two-hour-long genre-bending release spans from foreboding electronica to pounding progressive metal and features all music from the game and then some.
The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.
The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.
Handpicked by MoBlack, here are eight tracks that lended the dynamic vision and artistic stimulation for what is now a bastion of Afro House. Collected from the label's artists, friends and inspirations of past and present, "House of Mo'" comprises musical snapshots from Mimmo Falcone's journey as a DJ, producer and label head. Reverberating rhythms and grooves attached to memories made on and off dancefloors, these sonic wonders are part and parcel of the House the label built, go-to jams that speak of the spirit that binds its growing family.
Tread lightly, listen hard, and feel at home.
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Nach dem "makellosen und zeitlosen Soul" (The Guardian) des 2019er-Vorgängers "American Love Call" öffnet "Private Space" von Durand Jones & The Indications die Tür zu einer breiteren Palette von Klängen und führt die Band kühn in eine synthielastigere Soul-Welt aus mit Streichern durchsetzten Disco-Beats. Das harmonische Zusammenspiel zwischen Aaron Frazers sanftem Falsett am Schlagzeug und Durand Jones' kräftigem Gesang sitzt noch immer tadellos und wird von Blake Rhein (Gitarre), Steve Okonski (Tasten) und Mike Montgomery (Bass) perfekt abgerundet. The Indications bleiben auch auf ihrem dritten Album wahre Meister darin, Revival-Sounds mit einer modernen Haltung zu verschmelzen. "Private Space" atmet den Geist der vergangenen Disco-Ära und die zehn Tracks liefern so eine dringend benötigte Dosis Eskapismus nach diesem turbulenten Jahr 2020. Das Album entstand nachdem die Band einen Großteil des Jahres getrennt voneinander verbracht hatte. Die Freude des Wiedersehens und am kreativen Miteinander ist auf "Private Space" jederzeit spürbar. Der hoffnungsvolle Sound setzt auf die Idee, dass Freude uns befreien kann. Die Kraft eines guten Songs, ein Licht in der Dunkelheit zu sein. Bandleader DURAND JONES fasst es treffend zusammen: "At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me."
The self-titled debut from French outfit PRISONER arrives as a raw, hypnotic burst of modern garage rock—less a traditional song-based album and more a mood piece built from repetition, texture, and atmosphere. Released on Wicked Cool Records, the record leans into a stripped-down philosophy: riffs first, everything else second. Unlike many garage releases, Prisoner is largely instrumental, with vocals used sparingly— often as distant, almost incidental elements rather than the focal point. This gives the album a cinematic, drifting quality. Tracks like “Je ne retiendrai que toi” and “Il nous faudrait une bonne guerre” feel less like songs and more like evolving soundscapes, driven by cyclical guitar figures, motorik rhythms, and a persistent, almost trance-like momentum. The result is hypnotic rather than explosive: music that pulls you inward instead of shouting at you
For more than 35 years, Larry Goldings, Peter Bernstein, and Bill Stewart have set the standard for the modern jazz organ trio, forging a musical connection that continues to deepen with time. On Rhombus, the celebrated trio returns with a vibrant new collection that pairs striking originals by Goldings and Bernstein with unexpected and inspired interpretations of music by Keith Jarrett, Wayne Shorter, Abdullah Ibrahim, Randy Weston, Thelonious Monk, and Irving Berlin. Recorded after a month-long tour and fueled by the trio's extraordinary chemistry, many of the performances were captured on first takes. They reveal the spontaneity, trust, and joyful collaboration that have defined their music for decades. Goldings' orchestral Hammond B-3, Bernstein's lyrical guitar, and Stewart's unmistakable rhythmic voice unite in performances that are conversational, adventurous, and soulfu
Mit seiner außergewöhnlichen Virtuosität und poetischen Klangsprache gehört Bruce Liu, Gewinner des
Internationalen Chopin-Klavierwettbewerbs 2021, zu den faszinierendsten Pianisten seiner Generation. Auf
seinem neuen Album „Lunaris“ präsentiert Liu ein Programm, das ihn von seiner intimsten, visionärsten
und atmosphärischsten Seite zeigt:
Im Zentrum von „Lunaris“ stehen Beethovens legendäre Sonaten „Mondschein“ und „Waldstein“. Rund um
diese Meisterwerke entfaltet sich ein Programm voller atmosphärischer Dichte und emotionaler Tiefe, das
ikonische Klavierwerke mit verborgenen Schätzen verbindet. Chopins geliebtes Nocturne, Debussys schimmernde „Rêverie“ und Bachs zeitlose Klangsprache treffen auf selten eingespielte Werke von Mompou,
die ekstatische Intensität Skrjabins und die hypnotische Schönheit von Cages „Dream“. Zeitgenössische
Klangfarben von Agnes Obel und Ligeti verleihen dieser musikalischen Reise eine frische und überraschende
Dimension.
Mehr als ein klassisches Recital-Album ist „Lunaris“ ein immersives Hörerlebnis, cineastisch, nächtlich
und zutiefst persönlich. Inspiriert von Poesie, Malerei und dem Geheimnis der Nacht erschafft Bruce Liu
mit jedem Werk einen Raum voller schwebender Zeit, Licht und Fantasie.
„Es ist nicht nur eine Auswahl von Werken, die ich liebe, sondern auch mein Versuch, eine neue Art des
Hörens und Erlebens von Klang zu erschaffen, die in mir gewachsen ist. Diese Atmosphäre der schwebenden
Zeit sowie das Nebeneinander von Intimität und Distanz sind Dinge, die ich in meiner täglichen Beziehung
zum Instrument wiedererkenne.“ – Bruce Liu
Gelobt für seine „elfengleiche Virtuosität“ (Le Monde) und seine „Eleganz und Leichtigkeit des Anschlags“
(The Guardian), entführt Liu sein Publikum in eine faszinierende Welt aus mondlichtdurchfluteter Reflexion,
Fantasie und Transzendenz.
Im Oktober 1962, als das Bossa-Nova-Fieber in den USA gerade erst um sich zu greifen begann, gab
der Tenorsaxofonist Ike Quebec dem neuen Stil aus Brasilien auf seinem Album “Bossa Nova Soul Samba”
eine ganz eigene Note. Sein sinnlicher Ton durchdrang die luftige brasilianische Atmosphäre mit einer
seelenvollen Prise Blues und schuf so ein melodiöses Meisterwerk, zu dem auch der Gitarrist Kenny Burrell
erheblich beitrug. Dabei mied Quebec geschickt die Bossa-Nova-Hits von Tom Jobim, João Gilberto und
Luiz Bonfá. Stattdessen stellte er ein sublimes Repertoire aus Eigenkompositionen, weniger bekannten
brasilianischen Stücken sowie zwei klassischen Kompositionen von Antonín Dvořák und Franz Liszt zusammen. Umso tragischer war es, dass dies sein letztes Album sein sollte: Nur drei Monate später starb Quebec
im Alter von 44 Jahren an Lungenkrebs.
Zwei Monate bevor Jackie McLean sein bahnbrechendes Meisterwerk “One Step Beyond” einspielte, hatte
der Altsaxofonist im Studio von Rudy Van Gelder ein dynamisches Quintett für eine Aufnahmesession versammelt. Trotz der hochkarätigen Besetzung mit dem Trompeter Donald Byrd sowie dem Pianisten Herbie
Hancock und dem Schlagzeuger Tony Williams - die kurz danach Mitglieder des zweiten großen Quintetts
werden sollten - legte Produzent Alfred Lion die Aufnahmen erst einmal auf Eis. Sie wurden erst 1980
als Teil der “Connoisseur”-Reihe unter dem Titel “Vertigo” veröffentlicht. Das Quintett präsentierte eine
schwindelerregende Vielfalt an Stilen - von energiegeladenem Post-Bop über raffnierten Funk bis hin zu
langsamem Blues. Gekoppelt wurden das Material auf dem Album mit einer klassischen Hard-Bop-Nummer
aus dem Jahr 1959, die McLean mit einem anderen exzellenten Quintett ursprünglich für das Album “New
Soil” aufgenommen hatte. Auf diesem Album war sie aber wegen Platzmangels nicht erschienen.
Der Begriff „Classic Rock“ existiert in den USA schon seit vielen Jahren, doch in Deutschland musste sich diese Bezeichnung nach und nach etablieren. Er umfasst das Spektrum zwischen AOR und Hardrock mit vielen Facetten. In diesem Vinylboxset findet man diese Bandbreite. Über MOLLY HATCHET muss man kaum Worte verlieren. Zusammen mit LYNYRD SKYNYRD zählt man zu den erfolgreichsten und wichtigsten Southern Rock Bands und ist auch heute noch aktiv.
RICK DERRINGER ist leider 2025 gestorben, hat uns aber nicht nur mit seiner ersten Band THE MCCOYS („Hang On Sloopy“) unsterbliche Musik geliefert, sondern vor allem als Solokünstler. Dieses Schaffen wird auf der LP „Beyond The Universe“ zusammengefasst. JOHNNY BLACK kommt eigentlich aus dem Punk, aber auch in diesem Segment gibt es Gruppen, die man anderweitig verorten kann. Seine von der Presse hochgelobte LP enthält einen zugänglichen Mix aus Classic Rock, Hardrock und 70s Rock – teilweise hitverdächtig. Etwas mehr Aufmerksamkeit muss man der Band FLOATING OPERA schenken, deren einzige LP einen anspruchsvollen Mix aus Classic Rock, Krautrock und Progrock aufweist. Das passte perfekt in die ausklingenden Siebziger und gerade beginnenden Achtziger. FLOATING OPERA ist die versteckte Geheimwaffe in diesem Boxset. Alle LPs wurden für Vinyl gemastert!
A new collaborative project between Neil Jones (lead singer of Stone Foundation) and Nick Corbin (founder of New Street Adventure), bringing together two of the UK soul scene’s most distinctive voices and songwriters. The project also features legendary keyboardist Mick Talbot (The Style Council) and bassist Ernie McKone (Galliano / The Brand New Heavies), creating a band rooted deeply in British soul tradition while pushing the sound somewhere fresh.
The seeds of the collaboration were sown during the Covid-19 lockdown, when Jones and Corbin joined forces for a marathon live-stream performance that quickly gathered momentum online. The result is Silent Stream — an album steeped in soulful songwriting, rich musicianship and understated groove. The lead single captures that spirit perfectly: warm, reflective and melodic, built around classic soul textures, Hammond organ, and a rhythm section that breathes with the ease of seasoned players. For fans of contemporary British soul with classic influences, the track sits comfortably alongside artists like Paul Weller, Michael Kiwanuka and the wider Acid Jazz / modern soul movement.
It’s a meeting of kindred musical spirits — born in lockdown, but very much built for the long road ahead.
Re issue of the classic Heavy Disco remix of Kate Bush. This edit has been a mainstay of many DJs' playlist over the years. It's a deep, throbbing, psychedelic monster with added keyboards and efx. Absolutely essential! one sided Limited pressing act fast!!
Spectral death metal conjurations will grasp you with their doom-tinged tendrils from the onset of this record. The gritty, booming riffs open a chasm of darkness for the punishing drums to cast skulls into. Met by otherworldly vocals, this is certain to grip any fan of sepulchral music with its enchanting and intense abyssal atmosphere. Do not be fooled by the slower lumbering moments into thinking this will be an easy listen. Stampeding ferocity and wild madness soon erupt from the charnel openings to give a burst of frantic psychopathy to the experience. Churning doomed violence and convulsive bestial onslaughts entwine around each other to project forth arcane death metal violence with huge dynamics and an utterly savage feeling to every second. With a natural, organic production to convey the filthy nature of the music perfectly; this is not a record that will hold your hand rather drop you into a void of souls with malicious intentions.
From the devastating drum work and monstrous riffing to the wickedly contorting bass lines; each instrument complements the others in this storm of triumphant vitriol while the commanding vocals spew malice to superb effect. The low end murmurings and rusted blades of the leads are an idyllic balance of inhospitable sounds that will surely satisfy any real underground lunatic seeking dark music. These five pieces clock in at 35 minutes and the sheer intensity is upheld for every second. Crypt-lurking doomed despair and utter ferocity become companions while the groove of the more mid tempo sections tie everything together. There is certainly nothing missing for an impactful and memorable experience. Allowing itself to decay and reform throughout; you will see, hear, feel, smell and maybe even taste the stages of cranial decay and the anguish of the brain matter breaking down into nothingness. This is a record which doesn’t follow predictable patterns nor rules but wildly possesses you with the malignant spirits from death metal’s darkest corners…
Recorded April 17 and 18, 1993, at the Union Grove Baptist Church, Ozark, Alabama.
The Wiregrass Singers' Dewey Williams began learning the shape-note tradition in his childhood. He studied under Judge Jackson, who authored the landmark 1934 hymnbook The Colored Sacred Harp. In 1971, Williams formally organized The Wiregrass Sacred Harp Singers to preserve the music full-time. This unified troupe began touring nationally and leading workshops, which ultimately launched them onto stages at the Smithsonian and Newport folk festivals up until Williams' passing in 1995 when the group disbanded. The African-American Sacred Harp tradition in the Wiregrass region has steeply declined since the start of the 21st century, due to an aging generation of singers, and today it is largely sustained through archival preservation and occasional multi-book singing meetups.
This raw recording, made at the Union Grove Baptist Church, Ozark in mid-April 1993 finds the group singing from B. F. White’s The Sacred Harp (1844), which together with his brother-in-law William Walker’s Southern Harmony (1835) formed the musical backbone of generations of Southern music and Southern musical styles.
"On almost any Sunday between the months of March and October, the season most conducive to travel and outdoor dinner-on-the- grounds, Sacred Harp devotés join with fellow songsters at the County Line Church in Slocomb, or the Mount Sinai Church in Henry County, or the Union Grove Baptist Church in Dale County, or at any one of a dozen or so churches in the southeast Alabama counties of Barbour, Coffee, Dale, Geneva, Houston and Pike, to form the square and sing fa-sol-la. Approximately fifteen African-American Sacred Harp singings occur annually in the Wiregrass region of southeast Alabama. A singing tradition characteristically associated with white culture in the Deep South, southeast Alabama has enjoyed a vibrant African-American Sacred Harp tradition for well over a century.
On a day of a typical African-American Sacred Harp Singing, the participants arrive casually in the late morning, seat themselves in the square according to voice part, and begin to sing. A dinner break occurs in the early afternoon, and the singers enjoy a covered-dish "dinner-on-the-grounds" (or in the church basement) prepared by the women. The most intense and emotional singing typically occurs after the dinner break. Each singer takes a turn leading the song of his choice. He walks to the middle of the square, calls out the song's page number and waits for the designated tuner to key the song. Singers are discouraged by the other singers from repeating a song that has already been sung, or "used." This proscription is often dispensed with, however, if the singer is particularly young, particularly old, or if the song has special significance to the individual song leader (perhaps the favorite song of a recently deceased relative).
Every singer is given an opportunity to lead a song. Often, older or more infirm singers will request younger singers to lead their songs for them. The motions of the song leaders are highly stylistic and often emotional. Young children are taught in singing school to mark time with their right arm while holding the book in their left. Typically, a singer will stand in place at the center of the square while leading the singing of the notes. When he begins to lead the lyrics portion of the song, he will often begin to "walk time," rhythmically pacing from one side of the square to the other, being careful never to turn his back on the tenor section. This "walking time" is unique to the African-American tradition. As a singer grows more confident he develops his own distinctive leading style. During fuguing songs in particular, he may gesture to each section of the square as its part joins in. Skilled song leaders often elicit applause or other emotional responses from the group. Occasionally a singer may fall into a state of spiritual ecstasy and "get happy." The episode might include a personal testimonial followed by a repeat of the last verse or refrain from the previous song. The singings break up around 5 P.M."
—Henry Willett, 1997 credits
In a year which marks the 40th anniversary since the initial formation - under the moniker of Black Death - of what would subsequently grow into influential genre legends, 2026 marks the return of the imperishable Norwegian duo of Fenriz & Nocturno Culto for their new opus of high calibre old metal, under the banner of 'PreHistoric Metal'. As Fenriz himself proclaims of the title's symbolic origin, "Prehistoric is a loose term.
I just figure it's our VIBE, our take on things & it's more a statement that we use old style to create something new". 'Pre- Historic Metal' contains eight tracks of primal epics & gargantuan riffs with organic sound & the ever- present permeating spirit of the 70s & 80s, for a new continuation of the mastery witnessed on 2024's 'It Beckons Us All'. This next chapter in Darkthrone's extensive & ongoing catalogue presents a vast odyssey through the sonic landscapes of Thrash, Black, Heavy & Doom Metal &, adorned with a punishing & "in your face" guitar presence, Darkthrone stirs the cauldron of savage creativity with a nod to the writing methods which were indicative of their earlier works of the late 80s, but with a more refined craft.
Wer schickt dem ersten Detektiv eine schwarze Rose? Justus ist beunruhigt und macht sich mit seinen Freunden auf die Suche nach dem Absender. Schnell finden die drei ??? heraus, aus welcher Gärtnerei die Blume stammt, und machen sich auf den Weg zu der ehemaligen Klosteranlage. Hinter den efeuberankten Mauern stoßen sie auf so manches Geheimnis und der Wettkampf um die schwarze Rose beginnt! Denn bislang ist es offiziell noch niemandem geglückt, eine schwarze Rose zu züchten. Zu allem Überfluss sollen in den alten Gemäuern auch noch Seelen der verstorbenen Mönche ihr Unwesen treiben ...
Writing and recording the majority of Nocturnes at their home studio in Los Angeles, Leisha and Camila drew inspiration from '70s vinyl — and each other’s company. After finishing the demos, their friend Wendy Melvoin (of Prince and the Revolution) invited Uh Huh Her to continue the production at her treehouse studio in Henson Recording Studios (now Chaplin Studios). "We would just drink wine and record for hours and hours," Camila says of this time. "It was amazing. It was total freedom."
When it came time to mix Nocturnes, Melvoin suggested her friend and super producer Tchad Blake (The Bangles, Arctic Monkeys, Sheryl Crow, Cibo Matto), who put the finishing touches on the record from his studio in the English countryside. “It meant the world that our fans directly supported the mixing of the album through online eBay auctions of memorabilia, vinyl, art, and even a couple private dinners, because that enabled us to enlist the powers of the incredible Tchad Blake,” Cam says. The entirety of those original mixes have never seen the light of day until now, on this 2026.
As they contemplated rereleasing Nocturnes with Kill Rock Stars, Cam started digging around to find the album’s original mixes. “I chose Tchad’s first and second mix attempts because I wanted to preserve his first instincts before we gave him a million notes,” she says. This is truly how he heard it on one or two tries. The songs are longer, they're more rocked out, they're a little more raucous.”
Cam also surfaced a hypnotic song she’d written in 2020 called “Shook” to include on the rerelease, and they also put their own, electrified spin on Sonic Youth’s timeless and gritty “Kool Thing.”
Exxûl emerges as a massive, brooding monument to the tradition of high-stakes Epic Doom. Founded by Phil Tougas (Zeicrydeus, Chthe’ilist, Atramentus), the project serves as a vital expansion of his established conceptual multiverse, carrying forward the intricate lore of his previous works into a new realm of tragedy and weight. However, Exxûl is a formidable collective in its own right, featuring a lineup of elite musicians from across the extreme metal spectrum. Their debut album, 'Sealed Into None', eschews the frantic pace of the modern world for a deliberate, regal march toward oblivion. Their debut album is a regal march, drawing inspiration from the technical majesty of early Fates Warning, the thundering conviction of Manowar, and the frost-bitten heroics of Scald and Solitude Aeturnus. It is an uncompromising work of architectural doom, serving as the definitive companion to the Zeicrydeus mythos and a new pillar in a vast, dark narrative.
For fans of: Solitude Aeturnus, Fates Warning (Early), Scald, Manowar, and Zeicrydeus.
Four explosive tracks, three powerhouse artists, one essential wax. Experience the ultimate Afro-Funk-Disco fusion—strictly vinyl, purely devastating, only via Bud Records.
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The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.
Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.
Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.
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Tomoyoshi Date and Stijn Hüwels met for the first time in 2015 in Tokyo, being introduced to each other by Chihei Hatakeyama. That same evening, they recorded what would later become Hochu-Ekki-Tou, their first album, released on Home Normal in 2019, followed by 遠き火、遠き雲 (A Distant Fire, A Distant Cloud) in 2021 on LAAPS.
Tomoyoshi Date creates acoustic and organic sounds with a little touch of digital processing. He began to create electronic music in 1998. In 2003, he forms the group Opitope with Chihei Hatakeyama (released by SPEKK), in 2012 the group ILLUHA with Corey Fuller (released by 12k), and the group Melodia with Federico Durand (Home Normal). His solo albums were released from Flyrec (2009, Japan) and Own Records (2011, Luxembourg). Also he worked as emergency doctor until 2014, and started his ambient oriental medical clinic "Tsuyukusa Clinic" in Tokyo since 2014. Tomoyoshi currently resides in Narita, close to Tokyo.
Stijn Hüwels has a profound fascination for minimalism. He's using mainly layers of processed guitar and field recordings. He released on Dauw, mAtter, Eilean Rec., Home Normal, White Paddy Mountain and Slowcraft/Lifelines. He released albums in collaboration with Chihei Hatakeyama, Norihito Suda, An Moku and Ian Hawgood. Together with James Murray he forms Silent Vigils. Stijn lives and works in Leuven and Brussels, Belgium. He's also curating Slaapwel Records since 2014, a label dedicated to music to fall asleep with.
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Leading Danish contemporary jazz label April Records is proud to present Well, actually..., the third album from Polish acoustic jazz quartet O.N.E. Grounded in the spirit of democracy andcollective improvisation, the album offers a tightly woven set of original compositions that blur the lines between modal jazz lyricism and the raw energy of free improvisation.The band name O.N.E. is a clever double entendre: in Polish, "one" (pronounced oh-neh) means "they" in the feminine plural - an apt nod to the all-female lineup. In English, of course, it signifies unity. Both meanings reflect the band"s egalitarian, leaderless approach and cohesive group sound.Almost three years after the recording of their previous release Entoloma(Audio Cave), the group reunited in December 2024 at Studio S4 in Warsaw to record a fresh set of ten compositions. Spread over two sides, the album captures the continued evolution of a band that thrives on interaction, trust, and shared purpose - even in a society fractured by post-pandemic socio-economic uncertainty and political ambiguity. Featuring contributions from all four members - pianist Kateryna Ziabliuk, saxophonist Monia Muc, bassist Kamila Drabek, and drummer Patrycja Wybranczyk - the recordreflects their commitment to artistic democracy. Each voice is given space, yet the music always feels greater than the sum of its parts. Even on the miniature solo track solo form, the other three players remain present, supportive, and responsive. From Ziabliuk"s percussive piano textures and dreamlike voicings on tracks like Osloand Berio, to Muc"s expressive, woody tone on alto and baritone sax, each piece explores dynamic interplay and shifting emotional landscapes. Drabek"s resonant, grounded bass - by turns lyrical and propulsive - provides a central thread, while Wybranczyk"s drumming fizzes with precision and imagination, as heard on Cipherand the angular closer Sneaking Around.Together, these four distinctive creative forces have developed a shared language built on mutual respect, long-term collaboration, and deep listening. Their concerts across Europe (including Jazzahead, B-Jazz, Umea, and the Edinburgh Jazz & Blues Festival) haveaffirmed their standing as a boundary-pushing group with something new to say.
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Leo Mas is a true icon, who was there at the start of the Ibiza revolution in the 80s, he is the protagonist and witness of the birth of Ibiza as the World Capital of Clubbing alongside Dj Alfredo Fiorito at Amnesia (Ibiza) during the years of 1985, 1986, 1987, 1988 and 1990, thanks to his unique sound and innovative set he is as one of the Pioneers of House and Techno music and one of the Balearic Beat Originators.
Leo Mas - The Dark Side (Irreverent Mix)
Amnesia was the club that changed the European and later the global club scene in 1987, thanks in part to the support of London DJs Paul Oakenfold, Danny Rampling, Nicky Holloway, Johnny Walker, and Nancy Noise, who came to Amnesia for the first time that year. At the time, Amnesia was still an open-air club, and the group was amazed by the unique, eclectic, and irreverent style of Alfredo and Leo, who played the new House Music imported from the United States along with a genre-blending sound that would later become known as Balearic Beat. When he returned to London, Paul Oakenfold bought all the records that were being played at Amnesia, with the help of Nancy Noise, and together with his friend Ian St. Paul opened the one-night event Future, “The Original and Only Balearic Club.” This later became Spectrum on Mondays, and eventually evolved into Land of Oz, where in the VIP chillout room, the White Room, the DJ was Alex Paterson, later known as The Orb. Danny Rampling and his wife Jenny wanted to recreate their Ibiza experience by opening Shoom, while Nicky Holloway would go on to open The Trip. All of these clubs transformed the London club scene and, in turn, had a worldwide influence. During the second half of the 1980s, Amnesia was also the favorite club of Sven Väth, who was a regular customer there.
This one-hour long recording is an essential snapshot of a pivotal point in dance music history. The records’ selection was, deliberately a mix of Indie Rock, Gothic Synth-Pop, Subversive Electro, Industrial, Belgium New Beat, Techno with Poetry, EBM. A magical moment in time that could never truly be repeated, yet lives on through this tape, now finally available to music lovers everywhere, including those who only ever dreamed of experiencing it firsthand.
The release comes with liner notes by Robert Harris (Dr. Rob), DJ, music writer and author of the well-known book, IBIZA DJ 1976 - 1988, released in 2019, during his collaboration with Paul Byrne (Test Pressing)
Ri-tape & ELSI Berlin produced a very limited run of 50 tapes, be quick!
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Das akustische Instrumental-Album "Daniel" erweitert die Welt jenseits der Betonschluchten und Überführungen von LA hin zum pulsierenden, brodelnden Meer des Lebens, das Mexiko-Stadt ist, bis hin zur kargen, hügeligen Landschaft von Red Cloud, Nebraska. An jedem dieser Orte war der ständige Begleiter eine Nylonsaiten-Akustikgitarre - mit einer eigenen, weitgereisten Geschichte. "Es war die Gitarre meines Vaters", erinnert sich Danny Garcia, der Mann hinter dem Reverend. "Vor ein paar Jahren habe ich herausgefunden, dass sie auch meinem Großvater gehörte." Seit seiner Kindheit allgegenwärtig, hat die mexikanische Akustikgitarre für Garcia mit jedem Jahr an Bedeutung gewonnen. Stunden um Stunden des Spielens, Reisens und des Einhauchens von Leben in ihr Griffbrett haben sie sowohl zu einem Werkzeug als auch zu einem Talisman gemacht. "Da ist diese offensichtliche Abstammungslinie, die Familie und die Verbindung_ diese Verbindung durch die Geschichte", vertraut Garcia an. "Es ist sozusagen das einzige Familienerbstück, das ich habe." In der letzten Zeit hat all dieses Spielen (oder Herumklimpern, wie Danny es nennt) Reverend Baron dazu gebracht, einem Klang nachzujagen - einem, der die Ursprünge der Gitarre Lügen straft. Es ist ein Klang, den er von Zeit zu Zeit hörte, und als es darum ging, "Daniel" aufzunehmen, war dieser Klang sein wahrer magnetischer Nordpol (oder Südpol, sozusagen). Wenn du dich durch "Daniel" hörst, wirst du Anklänge an die Gitarrentöne von Antonio Bribiesca und Luiz Bonfa hören. Wenn du tiefer gräbst, wirst du auch die Grundzüge der Gitarrentexturen von Townes Van Zandt und Nick Drake erkennen. Ohne deren Virtuosität in seinem Spiel für sich zu beanspruchen, ergänzen die Seele und die Verletzlichkeit, die zu Markenzeichen der ersten beiden Reverend-Baron-Alben geworden sind, diese Einflüsse. Es liegt eine Wärme in "Daniel", die in diesen akustischen Meditationen im Mittelpunkt steht. Von kurzen, fließenden Momenten wie "El Monte" und "How Glad" bis hin zum hoch-einsamen "Muchacho" schweben die Songs wie Cumuluswolken über einem tiefblauen Himmel.
2026 marks a historic chapter in his musical journey as Ross prepares for the release of his twelfth studio album, Set In Stone, slated to drop in July 2026. The highly anticipated album rollout was ignited by the Top 10 radio single "Minks In Miami," an opulent track featuring French Montana and Max B. To further commemorate his enduring legacy, Ross is currently celebrating the twentieth anniversary of his debut number-one album, Port of Miami. Honoring the milestone, he is embarking on a grand 17-city orchestra tour, performing his timeless classics alongside the soaring live instrumentation of the Renaissance Orchestra and the powerful vocals of the Sainted Trap Choir. In addition to the new album Rick Ross' also released his 3rd book "Renaissance Of A Boss."
To celebrate the Ellis Dee Month we have repressed Ellis Dee Project Part One, a release that is iconic within the rave scene and one we are always being asked for. Originally put out in 1992 as a self-released 12" by Roy himself, we repressed it for him back in 2019 on black vinyl, that pretty much sold out straight away via Kickstarter, which is how we use to press releases back then. There was a very small repress a couple of years ago on a marbled grey vinyl, but again, that sold out straight away. Grab fast as they will sell out!
When ELEH's debut "Floating Frequencies/Intuitive Synthesis I" was originally released it was praised as a powerful piece of new electronic minimalism. Twenty years later the artist's legacy has grown while ELEH continues to hypnotize new listeners with time stopping music. Critics, fans and neurologists have praised the music of ELEH as aiding attention and focus while seeming to slow time. Eleh's slow change drones are a state of flow hypnotizing listeners into meditative focus.
From the original packaging, "Pure Sound. Pure Volume. Pure Analog. Dedicated To La Monte Young"
ELEH began in 1999 as an exploration of analog synthesis, emphasizing low frequency difference tones and other resonant acoustic phenomena. ELEH highlights the physical presence of sound as it has been inspired by the physical world. There is also something ‘cathedral-like’ and cosmos-inducing in the sound constructed by ELEH.
This audiophile quality presentation of ELEH's debut album was mastered by Tom Eaton at Sounds And Substance and manufactured at Optimal in Germany for the lowest possible noise floor and the highest analog resolution. Packaged using a 5th color metallic shimmer ink on solid black board stock.
"Nuances of sound turn symphonic." New York Times
“ELEH’s sounds move by stealth and are sculpted from the world rather than from ego. Eleh is not a personality; Eleh is an idea about sound. ELEH forces you to contemplate the cosmos and your place in it. “ Gramophone
"ELEH demonstrates how a single amplified gesture delivered just so can reveal the inner workings of an entire cosmos." Tony Herrington/Wire
“Floating Frequencies/Intuitive Synthesis more than lives up to the mythic status that ELEH has ascended to. “ Brainwashed
"ELEH's music electrifies whatever space it engages. With the flip of a switch, it exposes the ways in which all space is, potentially, electric." ~ Frieze
Wenn Sie das Glück hatten, in den 50er- und 60erJahren aufzuwachsen, erinnern Sie sich bestimmt an die wunderschönen, romantischen und beschwingten Lieder aus Italien, die im Radio, in den Theatern und in Hollywood-Filmen zu hören waren. Zyx Music lässt diese Erinnerungen wieder aufleben und macht sie der jüngeren Generation zugänglich, die dieses goldene Zeitalter der italienischen Musik verpasst hat. Begeben Sie sich mit uns auf eine Reise an der Seite von Sophia Loren, Domenico Modugno, Rocco Granata, Tony Renis und vielen anderen mit unvergesslichen Melodien wie „Volare“, „Marina“, „Come Prima“ und „Quando Quando“. Träumen Sie sich nach Italien und genießen Sie pure „Nostalgia Italiana“ … che bella!!!!!
Geese veröffentlichen ihr zweites Album '3D Country', den Nachfolger ihres Debüts 'Projector'. Im Sommer 2021 tauchte die Band wie aus dem Nichts auf und obwohl die 5 Jungs aus Brooklyn eigentlich vorhatten, nur ein paar Songs vor dem College zu veröffentlichen, wurde schnell ein Album draus, dass u.a. von der NY Times, Stereogum, Rolling Stone gefeiert wurde und ihnen Auftritte im TV bei Colbert und im Vorprogramm von Jack White einbrachte. '3D Country', von der Band und James Ford (Arctic Monkeys, Depeche Mode, Shame) co-produziert, entpuppt sich als ein abgefahrener, wilder und unvorhersehbarer Ritt, der eine Welt unter die Lupe nimmt, die nicht mehr so ganz die alte zu sein scheint.
“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag
Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine
Terri Lyne Carrington + Social Science ― Matthew Stevens, Aaron Parks, and Morgan Guerin ― delivers their sophomore project, Trip the Night Fantastic, on Candid Records. GRAMMY® nominated for Best Jazz Instrumental Album for their 2019 release, Waiting Game, this acclaimed collective returns ― boasting an illustrious roll call of emcees, spoken word artists, and instrumentalists ― this time exploring systemic and contemporary themes that demand our attention, call us to action, and add stunning breadth to the time-honored tradition of amalgamating art and activism. Women’s empowerment, climate change, immigration, gender justice, body autonomy, community building, and animal rights are all elucidated with a freshness, depth, and creative brilliance that can only be birthed from someone whose creative core is rooted in empathy and humanity.
Featured throughout this new recording are vocalists Ledisi, Arooj Aftab, Michael Mayo, Miki Howard, Fatoumata Diawara, Debo Ray, Christie Dashiell, Lizz Wright, Vuyo Sotashe, Safa, Imani Rousselle, and Ian Michael; instrumentalists Brandee Younger, Marc Ribot, Larry Goldings, Rashaan Carter, Simon Moullier, Riley G, and Brenda Navarrete; emcees Nappy Nina, Kokayi, Kassa Overall, and Khemist; and spoken word artists J. Ivy, Aja Monet, Tarriona ‘Tank’ Ball, and Moor Mother.
A cold sermon for warm-blooded sinners, Blasphemy pairs Ras Kass’ razor-edged theology with Apollo Brown’s sepia-toned soul loops—an album that feels like scripture rewritten in graffiti and gunpowder. Brown constructs a chapel out of dust-scratched vinyl: ironclad drums, gospel fragments, horns that sound like they’ve survived too many winters. Over that cathedral of grit, Ras Kass steps in like a rogue prophet, dismantling mythologies with scholar-level precision and West Coast snarl. His verses slice through religion, race, politics, and personal apocalypse—part history lecture, part street-corner sermon, part heretic’s prayer.
Guest appearances—Pharoahe Monch, Royce da 5’9”, Xzibit, and more—arrive like fellow priests of the unholy pulpit, sharpening the album’s edges without stealing its center. Blasphemy isn’t built for passive listening; it demands engagement, rewinds, and maybe even a dictionary. But beneath the intellectual shrapnel is feeling, too: bruised pride, survival-mode clarity, the restless search for truth in a world addicted to lies.
This is boom-bap as moral reckoning. A dusty-fingered gospel for those who don’t trust institutions but still crave meaning. A record that questions everything yet stands solid in its craft—Detroit drums welded to L.A. lyricism, both beating against the sanctimonious and the hypocritical with equal force.
Blasphemy is not here to comfort you. It’s here to wake you up.
After a critically acclaimed trilogy of albums and a 10-year hiatus, Romain Turzi, the underground pope of uncompromising French music, returns to the helm to compose and produce his new opus “Drop!”. He is joined on vocals by his longtime friend Oliver Gage, whose autobiographical and melancholic writing brings to life an intimate and redemptive musical epic, woven with oblique pop songs and club tracks that reconcile punks and dancers.
An album of diverse influences, it draws on the masters of film music (Goblin, Angelo Badalamenti), the titans of electronic and techno music (808 State, Dopplereffekt), the hedonistic spirit of ’80s Brit rock (Happy Mondays, The Stone Roses), the finely crafted melodies of timeless folk singers (Woody Guthrie, Neil Young), and the sonic power of My Bloody Valentine or the productions of Andrew Weatherall.
A record born of friendship and fearless creative freedom, “Drop!” is an invitation to escape the heaviness of the present and brush against a form of utterly necessary ecstasy.
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Originally released on Art Yard in 2017 finally back in print!
Solo album displaying a collection of foggy electronic dub meditations recorded between 2000 and 2005 by Berliner Ring member Alexander Christou under his Al Chem guise.
In 2009, the label Art Yard sent a probe into the outer regions of contemporary electronic music, releasing Berliner Ring's "Orbital" album, a dub techno hymnal for Berlin’s orbital ring road. Drawing together the disparate elements of invented instruments, modified keyboards, customized rhythm and string machines, it was built around moods and themes drawn from the Berlin landscape.
One member of the Ring, Alexander Christou, also a part of the Berlin electro rock group Elecdrones, recording for Katzensonne. The band were “not interested in the crafting of chunks of music ready to be consumed”. Christou has since been recording under the moniker Al Chem, crossing analogue and digital realms, synthesizing a kind of philosopher’s stone. As Al Chem, he released on Tummy Touch Records, and now follows with a collection of foggy electronic dub meditations recorded between 2000 and 2005 in a full album.
In the battle to harness the elements, ancient mists permeated Chem’s music. A murky, mercurial humidity saturates the project. A distinctly north European descendant of dub, a kind of Seventh Seal that Bergman could have made, if provided enough hydroponic infusions.
No Hopper is a rework of the Ras Michael song No Hoppers, from his legendary album, Rastafari Dub, Chem's version shuffles the pack of electronic percussion with organic, Moondog-like rhythms and hazy atmospheric chords; The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick-drum parallel between reggae and house music; Baudelaire sputters digital delay, piling on the pressure, a clatter of surgical implements performing an operation out of Dead Ringers, the patient storming out of the theatre with loosely fitted mechanical body parts; the instrumental No Hopper only serves to highlight the distant gathering storm. Ladder of Perfection rounds off the set with a drone, creaking with bubbling digital mud pools
ONE MUST FORGET, the post-industrial polish/french alignment of MK (michał kiełbasa of whalesong, lugola, and harmony of struggle) and enigmatic female vocalist EA, emerges as a singular force of cold minimalism and unfiltered emotional intensity. rooted in classic industrial aesthetics yet fiercely contemporary, the project rejects digital sterility in favor of raw hardware and tactile analog decay. their debut album, PILLARS OF SHAME, manifests as a terrifyingly elegant monument to human fractures, functioning as a severe, ritualistic purification for the disillusioned through what is defined as angstpop.
the sonic architecture of the record balances suffocating minimalism with mechanical violence, where hypnotic, industrial pulses hit with the weight of heavy machinery. shards of piercing feedback and raw white noise tear through the compositions, yet beneath this abrasive exterior lies a seductive, deeply unsettling undercurrent of melancholic melodies. EA’s volatile vocal presence collides with MK’s suffocating grim architecture to create a psychological landscape of collapse and introspection.
'Where the Smoke Goes captures the conscious and unconscious of Johnny Coley in duet between 2020-2024 AD. Alabama-born, Marseille-based artist Turner Williams Jr. wraps a selection of his dear friend Johnny’s penultimate compositions in arresting tone poems.
'The music buzzes and hums with distant trains, trembling strings, and lapping water, haloing our protagonist in a humid glow as he considers whether horses can live to 70 years old, cigarettes potent enough to knock you on your ass, and orchids facing the wrath of winter storms.
'This work began in the first Covid spring, as Johnny's advancing multiple sclerosis gave way to a permanent domestic confinement and a final period of prolific creativity. Johnny braved the toxic gales of social media to share his thriving poetry and visual art practice and to keep in touch with friends like Turner, who had recently moved abroad. For the first time, Johnny recorded himself, sending Turner fresh poems, day and night.
'Taking cues from late era Coil and the operas of Robert Ashley, Turner approached these recordings both as language and pure sound, arranging accompanying mosaics that emerge as much from Johnny’s unseen text as his mercurial drawl. Tracks draw from Turner’s solo practice as well as sessions including Henry Birdsey of Old Saw, members of the French underground (Manoir Molle, Loto Retina, Mona Assayag) and close Birmingham collaborators (Jasper Lee, Jimmy Griffin, Ladonna Smith). The voice is parsed and played as an instrument and each poem becomes a score.
'There is Johnny’s poetry and Johnny’s voice. These are two independent yet interwoven instruments. For Turner, Johnny's vocabulary, cadence, and timbre carry all of the contradictions that he writes about. His work is a dialogue of rich contradictions. "He plays with Southern American vernacular speech in his poetry while embodying it with his speech, creating a zone of emotional frisson. He loved combining opposites. Rough yet soft was one of his favourite descriptors", Turner recalls, "That was Johnny. ” Upon hearing the completed record, Johnny likened it to "a beautiful wood box, that when you open it there are fabrics shot through with silk threads and sharp fall woods smells - supporting and decorating the poems that fall out of them. ”
'This record captures something unconscious, atmospheric, and gives it unexpected materiality. Smoke that you can feel like grass under your feet. Stars that you can touch like a lover. Meeting for the final time in the summer or 2025, the time for words had passed so they just held hands and listened to the album opener Stargazer in silence as Johnny drifted off to sleep.'
Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory.
Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it.
Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.
The 16-member ensemble is led by double bassist and composer Ozzy, with a distinctive line-up that explains their sound better than any artificial genre divisions: two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, mandolin, congas, piano, drum kit, with bells, shakers and other percussion instruments scattered on the floor of live sets and recording sessions, ready for members to use whenever the spirit takes them.
This orchestration, and the overlap between membership and friendship, gives Ancient Infinity Orchestra a sound that is at once expansive and intimate, earthy, and cosmic, constantly shifting yet grounded in shared intention. The attention to intention and the inviting sonic world connects the music to artists ranging from Alabaster dePlume to Gondwana label boss Matthew Halsall.
Gradually, the Orchestra became a grounding force in the emerging jazz scene in Leeds, bringing together individuals from different musical backgrounds co-founding the Café Oto-inspired Limpet Club or co-hosting the monthly Sonic Plunge (‘a platform for adventurous experimentation’) and co-founding the Leeds Improvisers Orchestra. Additionally, the ensemble acted as a bridge between musicians in Brighton and Leeds, after Ozzy spent a stint back on the south coast between 2020 and 2022.
Their debut, River of Light, was a vibrant celebration of togetherness recorded in three days and released on Gondwana in 2023. A Maida Vale session for Jamie Cullum’s BBC Radio 2 show brought them to a broader audience, as did bookings at North Sea Jazz Festival and Gretchen, Berlin. Since then, Ancient Infinity Orchestra has become a by-word for music that could be framed as ‘spiritual jazz’. Whilst Ozzy avoids the phrase when describing his music, he’s crystal clear that his heroes are associated with those words – citing Art Ensemble of Chicago, Pharoah Saunders, Coltrane (Alice and John), and Don Cherry as major influences.
Across trance-like meditations, rising grooves, moments of grief and collective uplift, It’s Always About Liberation speaks to the battle within the mind as much as the inequalities of the wider world. It acknowledges the darkness but lets connection and creativity have the last word Ancient Infinity Orchestra is a gathering of voices, traditions, and energies converging into something timeless. Their music is a journey inward and outward, always reaching toward the universal.
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Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.
Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.
This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.
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Nia Archives returns with Emotional Junglist, an album about love – but not just the shimmering romantic parts. Written throughout 2025 – a year that saw Nia fall in, and horrifically back out of, love – each track will encompass something of the experience.
Marking her biggest sonic leap to date, her alt-jungle sound honed alongside James Ford (Arctic Monkey’s, Blur), Ethan P. Flynn (FKA Twigs, David Byrne) and Julia Michaels (Lady Gaga, Sabrina Carpenter), will see her flirt with everything from dewy-eyed indie pop and nineties electronica, underscored by the syncopated beats and thudding basslines of her jungle roots with a tracklist that features Jorja Smith and Sampha.
The motif for the album is a shell – tough on the outside, but through pressure, maturation and resilience, something precious is built within. Nodding to the female form, the spiral chamber also symbolizes growth and self-development.
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Here is the latest record from Konformer, Konformer II, the follow up to Konformer 1!
3 years in the making Konformer II is a further & deeper probe of the world of electronic influenced instrumental, psychedelic Krautrock from the Nuremberg based trio, recorded at Frank Mollena's Lonestar Studios.
Rainer Ruder (bass), Andreas Berg (drums) and & Kristian Krauss (keyboards) continue their exploration with a bass loop anchored odyssey, a trip into the future with a firm nod to the past.
Released on Before I Die 03/07/26 on limited Black Vinyl LP with a full colour art book featuring artworks from independent artists from the city.
The band will commence a short UK Tour of Southern & Northern Grassroots venues from the end of August 2026 culminating in a performance at Manchester Psych Fest on Saturday 5th September.
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Racing Mount Pleasant began as a group of friends and like-minded musicians in Ann Arbor, anchored at a single creative house that various members of the band have frequented and, to this day, continue to live in near the University of Michigan.
After an early album and smattering of songs under the name Kingfisher, including one beguiling and ambitious album released in 2022, the band reimagined themselves as Racing Mount Pleasant.
Now the band are reintroducing themselves under this new moniker with a beautiful, challenging self-titled debut album that draws on each member’s academic mastery of their instruments, but also a spirited defiance of conventional song structures—or even what a contemporary band looks or sounds like.
The band supported Geese in the fall and embarked on their own headline tour in 2026.
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K' Alexi Shelby is a prominent figure in electronic music with a career spanning decades. The cultivation of his massive music catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists like The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson and more. He makes a welcome return to COD3 QR with the jazzy house of opening track, "House Music de Chicago".
Voltaire has built his career through passion and a perfectionist approach to music, creating a richly emotional eclecticism, with inspiration from the pioneers of Detroit to the glorious electro decades of the 2000s and 2010s. Today he's a COD3 QR regular and released his debut album, "Echoes" on the label last year. He leans into the realms of house with a deep techy edge, for new track "Some House".
Finder is the alias of Radial (Jeroen Liebregts), originally from The Netherlands but today residing in Spain. He started mixing records around '98 and in 2002 teamed up with Bas Mooy to started the now legendary label, Audio Assault. He's also released on Token, Perc Trax, Mote-Evolver, Numb, Drumcode, Planet Rhythm, Mord, Will & Ink and MDR, alongside his label, Radial Records. As Finder he goes in a new direction with "Team Dream".
Benny Rodrigues a.k.a. ROD's other moniker, The Lost Souldancer has already seen him drop "No More Voices" and "Life and Death" for the label. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He returns with another emotional journey on "Magnolia".
Producer and manager of Slates Records, Squal G is a French artist who has been passionate about electronic music since the '90s. Initially a DJ, he soon turned to machines and computers. This enabled him to progress with his production and remixes. He never tries to stick to a single style, which, depending on his inspiration, can lead him to be more or less hard, while remaining in the spirit of techno. A popular COD3 QR regular, he's back with the intense techno of "Crackle".
French producer, DJ and live artist, Electric Rescue is world renowned. His productions have been signed on labels like Cocoon, Virgo, Arts, F Communications, COD3 QR, Soma, Sci + Tec, Boys Noize and his own Skrypto¨m. Ahead of his forthcoming artist album (to be released on COD3 QR in October) he closes the vinyl with the electro-tech and wonderfully wonky machine funk of "Internet Was an Illusion".
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Die international gefeierte und GRAMMY-prämierte Sängerin, Songwriterin und Schauspielerin Miley Cyrus
(Flowers, Party In The U.S.A) veröffentlicht ihre Single „Younger You (From the Hannah Montana 20th
Anniversary Special)” als Teil des großen Jubiläumsprojekts rund um die Kultserie „Hannah Montana“. Der
Song verbindet nostalgische Elemente aus ihrer frühen Karriere mit einem gereiften, genreübergreifenden
Sound und schlägt so eine Brücke zwischen Vergangenheit und Gegenwart.
„Younger You (From the Hannah Montana 20th Anniversary Special)” erzählt von dem Rückblick, persönlichem Wachstum und der Auseinandersetzung mit dem eigenen früheren Ich. Mit der Verbindung aus
Mileys emotionalem Pop und den modernen Country-Einflüssen von Lainey Wilson entsteht ein zeitloser
Track, der sowohl langjährige Fans als auch neue Hörer*innen anspricht.
Younger You (From the Hannah Montana 20th Anniversary Special)” ist erhältlich als 7‘‘ Vinyl
First-time repress of Thrum's 1994 cult classic Rifferama, newly remastered with enhanced depth and clarity. Features Monica Queen (Belle and Sebastian / Snow Patrol), the album offers a signature blend of shimmering hooks and fuzzed-out guitars. The long-awaited reissue of Rifferama, the acclaimed debut album by Glasgow indie trailblazers Thrum. Out on Fire Records, the remaster revisits one of the most revered cult records of the 1990s UK guitar scene (the vinyl release includes an exclusive digital download of the band's reunion show recorded live at Airdrie Town Hall in 2025, along with a new studio version of 'Hey Joe'). Originally released to critical acclaim, Rifferama captured a moment when melody, distortion and emotional urgency collided to create something timeless. Now newly remastered from the original recordings, the album returns with enhanced depth and clarity, reaffirming its reputation as a lost classic of the era. Fronted by the unmistakable voice of Monica Queen (known for her work with Belle and Sebastian and Snow Patrol), Thrum's sound blended shimmering pop hooks with driving, fuzz-laden riffs. Alongside Johnny Smillie's distinctive guitar work, the band forged a sonic identity that stood proudly alongside the era's most influential alternative acts. This reissue is dedicated to the late great Phil Vinall, who mixed the album.
MADMADMAD’s EP “Overload” is a thrillingly chaotic, genre-warping ride —think Mr Oizo on acid— that fuses fuzzy basslines, jagged guitars, and analog synth delirium into a dancefloor-ready collage of sound. From the Kraftwerk-tinged pulse of “Overload” to the acid-soaked, breakneck energy of “The Way” channeling The Chemical Brothers or Gesaffelstein, the record constantly shape-shifts while maintaining a raw, propulsive core. Tracks like “Mezcal” drift into hypnotic, minimal grooves reminiscent of Aphex Twin, while “Tout le Monde” and “Turn It Up” inject playful, off-kilter funk inspired by Tom Zé, Prince, ESG, and Beck. The title track closes on a high with a gritty, disco-infused groove nodding to early Daft Punk. Across the EP, MADMADMAD embrace disorientation as an artistic statement, drawing inspiration from Dadaism to mirror the overwhelming, information-saturated chaos of modern life.
Das erste Soloalbum von Brian Sella von The Front Bottoms! Produziert von Emperor X. ,Sellas erstes Soloalbum wirkt viel mehr wie ein Twee-Indie-Album, das in seiner Blütezeit auf einer anderen Seite von Tumblr zweifellos für Furore gesorgt hätte." - Atwood Magazine ,Jeder Track strotzt nur so vor Persönlichkeit." - The Aquarian Während The Front Bottoms weiterhin Alben aufnehmen und auf Tour gehen, hat Sella sich auch selbstständig gemacht, um die Dinge frisch zu halten. ,Ich habe im Laufe der Jahre verschiedene Hobbys ausprobiert", erklärt er. ,Aber letztendlich kehre ich immer wieder zum Songwriting und zum Geschichtenerzählen zurück. Es ist einfach etwas, das ich tun muss, und ich muss neue Wege finden, es zu tun." Textlich bewegt sich das Album geografisch durch die Welt, mit Anspielungen auf einen amerikanischen Hai in einem australischen Fluss sowie Songs, die nach South Dakota und Wichita, Kansas, benannt sind. Sella hat schon früher Songs nach Orten benannt (Rhode Island, Santa Monica und West Virginia fallen einem da ein), aber diese neuen Songs fühlen sich eher wie innere Landschaften an, metaphorische Orte für das, was in Sellas Kopf vor sich geht. Klanglich zeichnen sich viele der Songs durch ambientartige Klangflüsse aus, die parallel zu den Stimm- und Gitarrenflüssen der vermischten Instrumente verlaufen; sich wiederholende Klavier- und Gitarrenmelodien spielen miteinander, Bläsersätze schwellen an und eben ab, es gibt sogar ein Flügelhorn, das sich an die Ränder des Jazz schmiegt. Sella bleibt da draußen und sucht nach neuen Strömungen und Buchten in diesem Klangfluss, der Hai auf der Jagd, mit einem Teufel, der seine Flosse umklammert. Mach dich bereit, dich einhüllen zu lassen!
GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.
That initial fearlessness has since fueled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.
GoldFord is stepping into a more luminous and soulful era as he prepares to unveil his next body of work. Defined by the warmth and light of his latest single, Only You Do, the music remains a dedicated exploration of mental wellness, restoration, and the profound power of human connection. From its opening chords, this new project serves as both a continuation and an elevation of his journey toward healing.
The Unsung Adventures of Punch Brothers is a highly strategic, physical-format priority scheduled for release on July 24, 2026, via Nonesuch Records. This document has been professionally designed to serve as an in-store info sheet to justify why this title demands a prominent listing and prime shelf space in your store. Core Commercial Arguments For Your Inventory:High Physical Media Affinity: Punch Brothers possess an exceptionally loyal, audiophile-leaning fanbase that heavily prioritizes purchasing physical LPs and CDs rather than relying solely on streaming platforms. Grammy-Winning Prestige & New Lineup Buzz: As previous winners of the Grammy for Best Folk Album (for All Ashore), this release marks a monumental shift—their first-ever all-instrumental record and the studio debut of acclaimed fiddle virtuoso Brittany Haas. It serves as a natural conversation starter for acoustic, classical, and bluegrass buyers. Massive 28-City Tour Traffic: The band's largest tour since 2019 spans from summer into late autumn 2026, targeting iconic institutions like Carnegie Hall (NYC), major folk festivals, and regional hubs. Local tour stops are critical touchpoints to align with your regional endcaps and point-of-sale displays. Premium Production Appeal: Engineered by recent Grammy-winner Joseph Lorge (Guilford Sound Studio), the pristine sonics will make this a staple for high-fidelity test spins and vinyl showcase walls.
Wer schickt dem ersten Detektiv eine schwarze Rose? Justus ist beunruhigt und macht sich mit seinen Freunden auf die Suche nach dem Absender
Schnell finden die drei ??? heraus, aus welcher Gärtnerei die Blume stammt, und machen sich auf den Weg zu der ehemaligen Klosteranlage. Hinter den efeuberankten Mauern stoßen sie auf so manches Geheimnis und der Wettkampf um die schwarze Rose beginnt! Denn bislang ist es offiziell noch niemandem geglückt, eine schwarze Rose zu züchten. Zu allem Überfluss sollen in den alten Gemäuern auch noch Seelen der verstorbenen Mönche ihr Unwesen treiben
"Wer schickt dem ersten Detektiv eine schwarze Rose? Justus ist beunruhigt und macht sich mit seinen Freunden auf die Suche nach dem Absender.
Schnell finden die drei ??? heraus, aus welcher Gärtnerei die Blume stammt, und machen sich auf den Weg zu der ehemaligen Klosteranlage. Hinter den efeuberankten Mauern stoßen sie auf so manches Geheimnis und der Wettkampf um die schwarze Rose beginnt! Denn bislang ist es offiziell noch niemandem geglückt, eine schwarze Rose zu züchten. Zu allem Überfluss sollen in den alten Gemäuern auch noch Seelen der verstorbenen Mönche ihr Unwesen treiben ...
"
On his new full-length album, d00mscrvll. Diplo continues his journey into the lawless, genre-blending land of phonk music, a genre that fuses Memphis rap, lo-fi hip hop and electronic dance influences into something dark, hypnotic and deeply rhythmic.
Across this project, he’s joined by Three 6 Mafia members Juicy J and Project Pat, as well as genre stalwarts Odetari, Kordhell, 1nonly, DVRST and many more.
Aufgenommen während ihrer gefeierten „Works“-Tournee im Jahr 1977, fängt dieses Live-Album von Emerson, Lake & Palmer die Band auf dem Höhepunkt ihrer Kreativität ein, während sie Songs aus ihrem legendären Repertoire darbietet. Ein besonderes Highlight des Albums sind die Aufnahmen ihres legendären
Konzerts vom 26. August 1977 im Olympiastadion von Montreal, bei dem die Band vor einem ausverkauften
Publikum von 78.000 Zuschauern und gemeinsam mit einem 64-köpfigen Orchester auftrat. Nun erstmals
seit fast 30 Jahren wieder als eigenständige Veröffentlichung erhältlich, präsentiert „Works Live“ eine Band,
die die Grenzen ihres Genres und der Live-Performance auf ein neues Niveau hob und damit eine ganze
Generation von Künstlern auf Jahre hinaus prägte.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren.
Das Album „Howlin’ Wolf“ von Howlin’ Wolf, das wegen der Abbildung eines Schaukelstuhls auf dem
Cover liebevoll als „The Rockin’ Chair Album“ bezeichnet wird, rockt in mehr als einer Hinsicht. Diese
Platte fängt den wahren Sound des Electric Blues ein und versammelt Singles, die ursprünglich zwischen
1957 und 1961 veröffentlicht wurden. Mit den Talenten der Chess-Stammbesetzung, darunter Willie Dixon,
Hubert Sumlin, Sam Lay und Jimmy Rogers, liefert das Album einen kraftvollen Sound. Zu den herausragenden Titeln zählen unter anderem „Little Red Rooster“, „Spoonful“ und „Back Door Man“.
„Muddy, Brass & The Blues“ markiert einen Wendepunkt in Muddy Waters’ Karriere. Obwohl das Cover
Waters mit einer Gitarre zeigt, sind es seine Talente als R&B-Sänger, die auf dieser Platte zur Geltung kommen. Er erkundet einen neuen Sound, der klassische Blues-Elemente mit Bläsern verbindet. Das Ergebnis
ist eine beeindruckende Interpretation des Blues, die frisch und gewagt wirkt. Zu den wichtigsten Titeln
gehören „Corine, Corina“, „Black Night“ und „Sweet Little Angel“
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren.
Das Album „Howlin’ Wolf“ von Howlin’ Wolf, das wegen der Abbildung eines Schaukelstuhls auf dem
Cover liebevoll als „The Rockin’ Chair Album“ bezeichnet wird, rockt in mehr als einer Hinsicht. Diese
Platte fängt den wahren Sound des Electric Blues ein und versammelt Singles, die ursprünglich zwischen
1957 und 1961 veröffentlicht wurden. Mit den Talenten der Chess-Stammbesetzung, darunter Willie Dixon,
Hubert Sumlin, Sam Lay und Jimmy Rogers, liefert das Album einen kraftvollen Sound. Zu den herausragenden Titeln zählen unter anderem „Little Red Rooster“, „Spoonful“ und „Back Door Man“.
„Muddy, Brass & The Blues“ markiert einen Wendepunkt in Muddy Waters’ Karriere. Obwohl das Cover
Waters mit einer Gitarre zeigt, sind es seine Talente als R&B-Sänger, die auf dieser Platte zur Geltung kommen. Er erkundet einen neuen Sound, der klassische Blues-Elemente mit Bläsern verbindet. Das Ergebnis
ist eine beeindruckende Interpretation des Blues, die frisch und gewagt wirkt. Zu den wichtigsten Titeln
gehören „Corine, Corina“, „Black Night“ und „Sweet Little Angel“
SHDW's label Mutual Rytm rounds out another year with 'Symbiosis' - an excellent split EP from Greek artists ANNE & Sera J, featuring six fresh cuts and four digital bonuses.
The release title comes from the Greek word 'Symbiosis', which means living closely together for a significant period and can be used to speak of a mutually beneficial interaction between individuals. And that is precisely what can be said of ANNE and Sera J, who have grown through life as partners and, more recently, as musical peers. This split EP is their first release alongside one another, and one that presents the story of their innermost feelings, with their full label debut following fine contributions to the label's 'Federation Of Rytm II' compilation back in March.
ANNE has had a busy few years making her mark with potent techno on labels such as Soma, Hardgroove, and Life In Patterns, while Sera J is just as revered for his tunes on the likes of Out Of Place, DifferentSound and more.
ANNE takes the A-side, firstly with the fiery diva vocals and thumping techno drums of 'Heal My Soul' and then the more physical and banging drum programming of 'Turn Back Time'. It's a big, metallic cut with rumbling bass and sleek synths peeling off the groove, while her final track 'Zephyrus' has plenty of infectious bounce and eerie pads to keep dancers on their toes.
On the flip, Sera J kicks off with the electrifying synth stabs and cantering techno power of 'Blue Dancers' and then offers up 'Common People' as twisted leads and slamming drums all run through with alien sound effects and bright stabs. To close, 'Delusion' is a psychedelic cut with roaming leads that bring plenty of cosmic energy to the unrelenting kicks.
In addition, each artist serves up a pair of digital bonuses: ANNE with the hurried funk of 'Serene' and loopy intensity of 'Victor', and Sera J with the liquid, dubby dynamics of the hard-hitting 'Intensity' and monstrous energy of 'Bodies Don't Lie.'
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"3..2..1..Go! The prompt begins and ends the latest Dorio production, starring Agent Friday & the Perfect Angel. Motion-blurred scenes coalesce in an imagined spy thriller soundtrack, cutting across club pop, neo-acoustic, and textured electronica. In eleven jet-setting tracks, the Texas duo reconfigures classic pop sensibilities and cocktail lounge idioms into a thoroughly modern work. The project’s newest LP marks a confident development in Chad Doriocourt and Rachel Rascoe’s co-songwriting and CD-age experimentation. Dorio’s mission starts now.
Fuzz guitars, monophonic synthesizers, and bouncy drum breaks fuel a tale of covert operations on Agent Friday & the Perfect Angel. The album’s propulsive production cuts across a pristine millennium palette, from Madonna’s 1998 Ray of Light all the way to Gorillaz’s 2010 Plastic Beach. Rising to meet the energy of live audiences, Doriocourt’s dance-oriented production amps up Rascoe’s singsong melodies. It’s music readymade for both recreational and listening formats.
“An upbeat form of bubblegum-pop and hip-hop percussion that recalls the recent neo-psych output of Stones Throw Records.” – Flood Magazine
“Recalling the nostalgic majesty of bands like Wishy, Tennis, and Hovvdy, the skittering hi-hat feels like rain drops hitting the metal roof of an old car, the production insular while somehow vivid and full of imagination… Whatever the instrument, Dorio know how to make quite an impression.” – Consequence
“Summery psych-pop that often infuses their dreamy melodies, kaleidoscopic hooks, and breezy vocals with nostalgic millennium-tinted breakbeats.” – KEXP"
Hausu Mountain co-founder Maxwell Allison returns to the label under his moniker Mukqs with an hour-long progressive ambient statement entitled Juckport. Performed live on a solitary sampler in a single take, the album shifts from warp-speed blasts of glitch to iridescent jazz fusion piano sketches to expanses of ecstatic synthesis. Allison's improvised approach to live sound collage blends innumerable layers of texture and oblique harmony into a continually thrilling electro-acoustic mosaic. Each track begins as a bank of samples sourced from Allison’s collection of synthesizers, drum machines, and field recordings, arrows pointing in a direction but without established counterpoint. Spontaneity, and the sometimes chaotic juxtapositions it engenders, undercut any traces of machine logic in the music as it expands and contracts organically. It is the product of hands moving in real space, in real time, for an extended period. Juckport is animated by a duality of glitched-out abstraction and intangible bliss. Synthesizer pads stretch beyond the imagination’s horizon line, counterbalanced by a churn of clipped samples that scatter across the stereo field like rapidfire psychedelic flashbacks. Cohesion emerges through textural continuity and development rather than repetition or pattern-making. Blink and innumerable details might slip by unnoticed, and the landscape might have shifted entirely. Still, as more viscous sounds enfold the listener, they communicate a calm, settled mindset, reflecting the motion of a creative mental state; large amounts of information are synthesized into a focused stream that reacts intuitively with the introduction of each new complicating element.
There’s a new sound shaking up the Upper East Side — and it’s not related to Serena this time.
It’s ‘gg’, the new track from Lolina.
We've all heard the rumors of L performing this one around the globe for months, & some of the lucky ones got the chance to catch it live... but now the wait appears to be over for the general public. There are officially plans to release the studio version of ‘gg’, and it's safe to say the track is scandalous. Meeting same time, same place to get to the bottom of it all. Confusion lingers, yet everything stays comfortably in strife. It all keeps moving.
Who is the city even for now? What’s our own involvement in the distress? That’s one secret I’ll never tell!
Why is it that L must use song to persist in this city that never sleeps? Have fables fallen so out of fashion that princesses have to do everything themselves now?
Well... according to some tips we received this doesn't seem to be the case. L has enlisted help from some very exciting sonic connoisseurs, resulting in remixes stronger than a knight in shining armor could ever provide.
So let's check out this track list, shall we?
A-Side
gg (Extended Version)
gg (NEW YORK Remix)
B-Side
gg (Arca Remix)
Sounds like the perfect soundtrack for eating a yogurt cup on the steps of the MET to me.
We seriously doubt you'll be able to ignore this release.
Run the credits, roll the dice.
xo xo
GOSSIP GIRL
Press release by Kaitlin Simotics
Mastering and additional mixing by Amir Shoat
Artwork by Lolina
Vinyl design by Termite Lounge
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Among the projects that helped redefine European electro and EBM at the turn of the millennium, Electronic Corporation and heimelektronik remain essential references. Blending machine-driven rhythms, melancholic synth work and an instinctive understanding of the dancefloor, their productions captured a unique moment where classic body music was reimagined for a new era.
The A-side features "Illuminate" and "We Got Velocity", originally released under the Electronic Corporation moniker, while the B-side collects "My Darkest Sounds" and "Nothing But My Beat" from heimelektronik's sought-after Electronic Lifeforms EP.
Collecting four timeless recordings that move effortlessly between electro and EBM, this 12" is driven by sharp sequencing, uncompromising drum programming and a singular vision of electronic music. TIP!!!
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Als eine der prägendsten und einflussreichsten Künstlerinnen unserer Zeit vereint die mehrfache Grammy- und BRIT-Award-Gewinnerin Charli xcx Musik, Mode und Film wie keine andere. Ihr mit Spannung erwartetes neues Album „Music, Fashion, Film“ erscheint am Freitag, den 24. Juli, und führt ihren visionären Mix aus Mainstream und innovativem Underground perfekt fort. Das Meisterwerk enthält bereits gefeierte Tracks wie „SS26“ und „Rock Music“ und besticht durch ein ikonisches Cover von Aidan Zamiri, auf dem Legenden wie John Cale, Marc Jacobs und Martin Scorsese zu sehen sind.
Als eine der prägendsten und einflussreichsten Künstlerinnen unserer Zeit vereint die mehrfache Grammy- und BRIT-Award-Gewinnerin Charli xcx Musik, Mode und Film wie keine andere. Ihr mit Spannung erwartetes neues Album „Music, Fashion, Film“ erscheint am Freitag, den 24. Juli, und führt ihren visionären Mix aus Mainstream und innovativem Underground perfekt fort. Das Meisterwerk enthält bereits gefeierte Tracks wie „SS26“ und „Rock Music“ und besticht durch ein ikonisches Cover von Aidan Zamiri, auf dem Legenden wie John Cale, Marc Jacobs und Martin Scorsese zu sehen sind.
Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."
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MAR 004 continues the evolving catalogue of Moozikeh Analog Room, a label imprint emerging from the broader Analog Room ecosystem. Over time, Analog Room has developed into distributed creative structure spanning, bridging club culture, archival releases, and experimental instrument design. MAR 004 extends this trajectory, reinforcing the label’s position as a long-form documentation platform for contemporary electronic music practices rooted in both regional and international dialogue.
From The Label:
"The relationship with Roman Flugel started with us listening to his music and be fascinated by the simplicity but bold sound. The sound design and the story telling was inline with how we enjoyed music. After inviting Roman for a few times to perform at Analog Room, the relationship led to the point that when it was time for us to think of the MAR releases, we could not miss on asking Roman to join the label and the rest is what you are going to experience with this thick, deep and rhythmic EP that represents what the world need at the moment, some SOLUTIONS. Analog Room has always tried to bypass the issues in the South West Asia region through music and art and show how we are all the same and connected."
From Roman:
"My record for Analog Room is essentially a long-term project that was sparked by multiple invitations to the Analog Room club in Dubai over the course of several years. The club held a special place for me—a sanctuary for the underground music scene in a city otherwise defined by a very different ethos. I am delighted to now be part of the Analog Room label family. The record blends various moods and directions within my personal musical landscape, and "Solutions," in particular, has created euphoric moments during my DJ sets over the past few months."
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motor.de:
"Ex-Blackmailer Aydo Abay legt sich ein elektronisches Alter Ego zu: von düsteren Zukunftsvisionen, dem
Überwachungsstaat und New-Wave-Sound.
Wir kennen das schon aus „Keine Lieder über Liebe“: Für das Filmprojekt von 2005 wurde mit der Hansen Band ein
Projekt für die Kamera erschaffen, das aber auch echte Konzerte gab und ein Album herausbrachte. Im Jahr 2010
erleben wir nun ein ähnliches Projekt: Für die Crossmedia-Serie „Alpha 0.7“ formierte sich Crash:Conspiracy rund um
Mastermind Aydo Abay. Genau genommen IST der Ex-Blackmail-Sänger Crash:Conspiracy. Für die Aufnahmen der
Platte und auch für die kommenden Konzerte arbeitete er mit wechselnden Musikern zusammen und ist somit das
einzige stetige Mitglied der Band.
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Sushitech continues its expertly curated mission of uncovering hidden gems adding to its ever-green catalogue with another immersive, rare house classic from the West Coast of the late '90s.
Tim Buna and Eric James (RIP), who produced as E.T.I. and formed part of the solid bedrock of the West Coast sound alongside DJ Garth (together as Rocket) and the Wicked crew, join forces with Tony Hewitt, another titan of the era.
This rare genre-crossing underground record has been treasured by collectors for years, earning support from key players and featuring in the infamous Tyrant mix of Craig Richards and Lee Burridge.
Carefully restored and recut, this monster of a record is now available once again on Sushitech in its full form. Three decades on from its original release, its raw, dirty, high-energy vibe remains hard to match, with authentic, magical sound that stands second to none. Late '90s acid house at its finest.
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Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.
An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.
“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER
Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.
On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”
The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.
Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.
FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.
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Chontane returns to Mutual Rytm with a more raw and aggressive sound than before across six powerful new tracks on his latest EP, 'Permanent'.
Berlin-based Ukrainian DJ/producer Chontane has had a busy twelve months. Capped off by recently launching his own new TANE label, the exciting talent has been working hard to reinvent and refresh his sound in the studio. Mastering new techniques to push things to the next level, this EP and return to SHDW & Obscure Shape's Mutual Rytm proves he has succeeded and then some. Where previous works on the likes of ARTS and Rekids were full and more melodic, here he has restricted himself and gone for a more visceral sound. Developed and built in all new ways with an innovative approach to sound design and arrangement, the tracks on the package showcase a more serious and harder-hitting side to his sound as he unveils his impactful 'Permanent' EP.
Opener 'Graze' has a monstrous feel to it, with ghoulish synth loops and industrial textures all coming on strong and heavy. As it bangs along, incendiary hi-hats and lithe pads all bring extra weight and detail. 'Cumaru' is a highpaced techno workout with a frenzy of synths and percussion, all making for dense layers of heavily textured sound. 'Schima' brings some big techno bounce in the drums and more hurried, rusty synth loops that lock you into the darkness. Showing yet another side, 'Lauan' is a little more paired back with pounding tribal grooves and bright synths, bringing relentless yet funk-fuelled intensity. 'Vevis' is the most melodic of the lot - a heavy track but with subtle optimism in the rising background synths that will surely get hands in the air.
Last of all is digital bonus 'Makore', a cauldron of intensity with scraping hits and relentless drums, vastly oversized hi-hats and slamming bass. This high-impact, beautifully brutal yet groove-heavy techno takes Chontane's sound into new realms, and delivers an impressive return on a label continuing to push the genre forward.
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After spending the last few years relentlessly touring across Europe and the UK, building a fiercely loyal fanbase through sold-out shows and unforgettable live performances, LEAP have built unstoppable momentum with their recent album, ENTROPY. First released digitally in late 2025, the album didn"t just connect-it exploded, racking up 21 million global streams and catching the ear of Epitaph Records, who quickly brought the band into the fold. There"s a magnetic push-and-pull at the heart of ENTROPY: big, anthemic alt-rock hooks wrapped around lyrics that don"t shy away from life"s messier moments. Frontman Jacky Scott leads the charge with a voice that can pivot from raw confession to fist-in-the-air release, turning heavy themes into something unexpectedly uplifting. It"s that balance-dark edges with a bright, communal core-that"s earned early praise from Rolling Stone and Kerrang! alike. And the fans are already all in. Following a sold-out European run, tickets for LEAP"s first U.S. shows in New York, Chicago, and Los Angeles vanished months in advance-proof that their emotionally charged, high-energy sound translates far beyond the studio. At its core, ENTROPY feels like a shared experience: songs built for singalongs, for release, for connection. LEAP aren"t just channeling chaos-they"re turning it into something unifying, loud, and impossible to ignore.
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Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. Their latest offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, 'Aspan' delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove.
In recent times, Sababa 5's talent has gained recognition on prominent French radio stations such as Radio Nova and FIP. Their tracks have become regular features on BBC Radio 6 Music, drawing the attention of notable figures and emerging talents like Gilles Peterson, Cerys Mathews, Jamz Supernova, Gideon Coe, and Deb Grant. Leading music publication "Songlines" has praised the band's "slick precision" and the captivating elements they infuse, ranging from "Moog synth licks" to "flavors reminiscent of Wes Montgomery-style guitar."
The expansive and captivating soundscape of 'Aspan' is set to attract a fresh wave of fans while fortifying the group's mastery of substantial grooves with a distinct Middle Eastern essence. With appearances already on European festival stages, the year 2024 holds great promise for Sababa 5, marking a significant chapter in the band's journey.
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A new solo album from Seu Jorge reveals his 'other side' on this new solo album featuring Beck and Maria Rita. Produced by Mario Caldato Jr. (Beastie Boys), the album moves between jazz and bossa nova and is the result of a 16-year musical journey.
Seu Jorge is ready to present to the world the most ambitious project of his international career. After 16 years in the making, “The Other Side” finally arrives on streaming platforms in May. A departure from the soul and samba that defined his solo career, the new album is a sophisticated orchestral celebration of Brazilian music, moving between jazz and bossa nova.
The seed for this meeting between the Brazilian soul and orchestral sophistication was planted by a longtime friend and admirer: the legendary producer Mario Caldato Jr., known for his work with the Beastie Boys and Jack Johnson. The partnership, however, goes back further. “It’s not often that you find a voice and talent as vibrant and powerful as Seu Jorge’s. That’s what I felt in 1999, when I met him in Los Angeles,” recalls Caldato. “Since then, our friendship and admiration have only grown, allowing us to create music together with total freedom.”
The spark for “The Other Side” came from a moment of pure sensitivity. “This album was born when I recorded Jorge playing a simple version of ‘Girl You Move Me,’ by the band Cane and Able, on a nylon-string guitar. The performance was very sensitive and dynamic, which moved me deeply,” says the producer.
It was then that Caldato had the idea to invite multi-instrumentalist and arranger Miguel Atwood-Ferguson to orchestrate that demo. The partnership, which began in 2009, blossomed organically. “I shared some ideas with Miguel, and he understood perfectly, creating a beautiful arrangement that elevated the song to a much more luxurious and sophisticated dimension. That experience planted the seed for this orchestral adventure. "
With his characteristically deep, velvety voice, Seu Jorge guides the listener through a repertoire that revives gems of MPB. The artist cites as references the catalog of the German label ECM Records and the arrangements of Claus Ogerman, a conductor who worked with Tom Jobim and João Gilberto.
Recorded in stages between 2009 and 2018, the album is a true work of musical
craftsmanship, created with calm and friendship. The live rhythmic foundations were
provided by Seu Jorge’s band. “Jorge has a lot of confidence in and pride for his musicians, allowing them to express themselves freely. Each one brings a special flavor to every song; this was their album too, ” notes Caldato Jr.
“It was a week of pure joy for me and for all of us, recording and capturing that magical spirit and vibe,” adds the producer, who saw the work come together with arrangements by Miguel Atwood-Ferguson. “When it came time for mixing, everything felt very natural. The album revealed itself and came together magnificently. For me, it’s a timeless album.”
The album features covers of songs such as “Crença” by Milton Nascimento (from his 1969 debut album); “Caboclo” by Arthur Verocai, in a version with psychedelic guitars; and, of course, “Girl You Move Me” by the Canadian band Cane & Able, which inspired the project. Among the tracks featuring guest artists, “Vento de Maio” by Márcio Borges (a hit with Lô Borges and Elis Regina) features an intense duet with Maria Rita. Another major collaboration is with American singer Beck, a self-proclaimed fan of Brazilian music and Grammy winner. Together, they perform “River Man” by the revered British singer Nick Drake.
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Odisea is the new album, actually the real debut from Los Retros, out in April on Stones Throw. It draws inspiration from 1980s Japanese City Pop, and marks a new creative chapter from Mauri Tapia shaped by growth, reflection, and renewed purpose. It's been a journey since Tapia first captured hearts with the lo-fi magic of "Someone To Spend Time With", recorded at the age of 17 on a humble four-track in his parents' living room. Now 25, the Oxnard native has stepped into an entirely new season of life - he married his high school sweetheart, became a father to two daughters, and embraced spiritual faith. Earlier this year, he revisited his start with Early Days (2016-2019), a compilation of unreleased music from Mauri's teen years. "Jazz fusion has become my favorite genre and greatest inspiration of all time," Mauri says. "I made this album for the version of me that first fell in love with music. It's my full-circle moment - a sonic hat tip to my beginnings - as well as a nod to the forefathers of jazz fusion and city pop for leaving us with great music." Through it all, he's kept the same DIY spirit, writing and recording every note himself, only now in a home studio of his own. On Odisea, Tapia blends neon-lit City Pop with the melodic sensibility of Latin American soft rock. Mauri's deep love for 70s and 80s jazz fusion records anchors the album, yet Tapia filters those influences through a modern lens. Odisea features two Japanese vocalists, - Hikari and HITOMITOI. Also check out Los Retros new compilation "Early Days" released simultaneously. RIYL soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust
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Nickodemus is a traveler at heart—a connecter of worlds, scenes, and people since the mid-90s. Over his extensive career as a touring DJ and producer, including five albums, hundreds of remixes in his “Remix Machine” and two dozen compilations of cutting edge up incoming producers from around the World, remains one of the most important leaders of global fusion and the heavy beats we yearn for in the club. His music has long thrived on the close relationships and mutual respect of friends he’s built across the continents, felt through the worldly potions he cooks up in the studio, and spanning electronic sounds rooted in Latin, African, and Eastern instrumentation. His latest album, Soul & Science is a collaborative effort between old and new friends, recorded in several countries while touring as well as his home studio / record room / memorabilia museum.
This limited 7” pairs two standout remixes from Nickodemus’ 2023 album Soul & Science, bridging deep-rooted collaboration with modern dancefloor energy. On the A-side, Ben Gomori reimagines “Rumba Tobacco y Ron”—a trans-Caribbean production born between Puerto Rico and Cuba, featuring contributions from Tempo & The Candela All-Stars and Haydee Soul—into a chopped, electronic club cut that retains its original horns, piano, and vocal spirit. On the B-side, Tigerbalm delivers a driving, four-on-the-floor remix of “Mama Tchipp (Follow Me),” flipping the Afro-disco anthem with steady basslines, punchy drums, and Pat Kalla’s infectious vocals primed for peak-time play.
With a career spanning over 25 years, Nickodemus remains a globally recognized force in eclectic, genre-blurring dance music, boasting 60k+ Spotify followers, 811k+ monthly listeners, and over 350 million streams across his catalog, alongside more than 20,000 physical records sold worldwide. His breakout collaboration with Quantic and Candela All-Stars, “Mi Swing Es Tropical,” became a bona fide international hit with over 75 million cumulative streams and a key placement in the Chef soundtrack directed by Jon Favreau. On remix duties, Ben Gomori—founder of the UK-based Monologues Records—brings his signature touch, having previously reworked artists including Oby Onyioha, Segun Adewale, Dawda Jobarteh, and Amadou Balaké. The release is already receiving strong international radio support, with airplay and tastemaker backing from Gilles Peterson, BBC Radio 6 Music, FIP, RFI, Radio 3 (Generación Ya), 2SER, KCRW (Top Tune of the Day), and KEXP, signaling strong demand and cross-market appeal for DJs, collectors, and global music audiences alike.
a A1: Rumba Tobacco y Ron (ft. Haydèe Soul) Ben Gomori Remix
b B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]
[a] A1: Rumba Tobacco y Ron (ft. Haydèe Soul) [Ben Gomori Remix]
[b] B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]
[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]
[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]
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If we're talking about great and underrated pop-rock albums from the 1980s, Different Light by The Bangles is an essential mention!
The all-female power pop group had already attracted quite a lot of attention with their very catchy debut album "All Over the Place". None other than Prince took notice and decided to give them his newly written song "Manic Monday". It became the groups first worldwide hit. Fortunately, the whole album was filled with potential hits, resulting in a multi-platinum status in the US, UK, Canada, Australia and New Zealand.
The 12-track set Different Light spawned five charting singles, including the aforementioned “Manic Monday” and “If She Knew What She Wants”, “Walking Down Your Street”, “Following” and their monster hit “Walk Like An Egyptian”.
Different Light is available on black vinyl and includes an insert.
American hard rock band Alcatrazz once featured legendary musicians like singer Graham Bonnet as well as guitarists Yngwie Malmsteen and Steve Vai. With their current line-up of guitarist Joe Stump, keyboard player Jimmy Waldo, bassist Gary Shea, drummer Mark Benquechea and new singer Giles Lavery, Alcatrazz re-recorded nine songs of their back catalogue. In addition to well-known numbers like “Hiroshima Mon Amour”, “Island In The Sun” and their biggest hit “God Blessed Video”, »Prior Convictions« also features two brand-new numbers, “Transylvanian Requiem” and “Stand And Wait Your Turn”. The release embodies how Alcatrazz sound today. Guitarist extraordinaire Joe Stump can barely hide his excitement: “Something old is something new and these new versions of some of the old Alcatrazz classics are killer and 100% metal.” “The new line-up is firing on all cylinders,” enthuses keyboardist Jimmy Waldo, while his colleague on bass, Gary Shea”, adds: “My prior convictions have always remained true, step up and rock hard. »Prior Convictions« continues the Alcatrazz saga with a 21st century twist of classic songs and new music.“ Although »Prior Convictions« is not a new studio album, it’s a clear sign that Alcatrazz are continuing the legacy, giving new fans the chance to get familiar with a whole bunch of bona fide hard rock classics from the eighties. Old fans, on the other hand, will quickly learn that the new line-up is every bit as potent as past incarnations of the band. »Prior Convictions« was originally issued exclusively on CD in 2025 via Brave Words Records. Thanks to High Roller Records, it’s now also out on high-quality vinyl.
Politics. Hatred. Endless war. We doomscroll as our rights are stripped away. Bombings. Kidnappings. Mass shootings. The nightly news is a litany of brutality. Assassination. Subjugation. Deportation. We argue with each other while the rich get richer and cruelty is normalized. These are just a few of the reasons why the title of The Casualties" new album is Detonate. Detonate is the second chapter in a new epoch for The Casualties. As their second album with David Rodriguez at the mic, it solidifies the vocalist"s partnership with drummer Marc "Meggers" Eggers and guitarist Jake Kolatis . "It"s like a new era for the band," Meggers says. "It solidifies that Dave is here to stay." As the follow-up to 2018"s Written in Blood and their first record for Hellcat Records- the Epitaph subsidiary curated by Tim Armstrong of Rancid-Detonate sees this new version of The Casualties locking into place. "We were in the studio for Written in Blood about eight months after I joined," Rodriguez says. "With this new record, we really grew together. For me, it"s the proud moment where we clicked the three Legos together."
Anlässlich des 45. Jahrestags seiner Veröffentlichung bringt Secretly Canadian Yoko Onos bahnbrechendes Album ,Season of Glass" aus dem Jahr 1981 in einer erweiterten CD-Version sowie erstmals seit mehr als 45 Jahren wieder auf Vinyl heraus, ergänzt durch ein erweitertes und überarbeitetes Coverdesign. ,Season of Glass", das zu den Top 200 Alben der 1980er Jahre von Pitchfork zählt, erschien im Juni 1981, nur sieben Monate nach dem sinnlosen Mord an Onos Ehemann und kreativem Partner John Lennon. Voller Songs über Liebe, Verlust, Wut und Angst spiegelte das Album Onos Erfahrungen in aller Deutlichkeit wider und schuf so fast ein Pendant zu den ,Primal Scream"-Alben der Plastic Ono Band von Ono und Lennon aus dem Jahr 1970. ,Season of Glass war eigentlich einfach nur ich selbst, denke ich", sagte Ono 1982 gegenüber Newsweek. ,Irgendwie war es in gewisser Weise wie ein Urschrei; weißt du, etwas ist in meinem Leben passiert, und ich musste es einfach sagen. Und ich glaube, es war für mich mehr als alles andere therapeutisch. Und ich war ziemlich ehrlich, nehme ich an." Onos fünftes Studioalbum, ,Season of Glass", war auch das bis dahin kommerziell erfolgreichste der Künstlerin und schaffte es in die Top 50 der Billboard-Albumcharts, war jedoch nicht ohne Kontroversen. Das Cover des Albums zeigte ein Foto von Lennons blutgetränkter Brille, so wie sie Ono vom Roosevelt Hospital nach seiner Ermordung zurückgegeben worden war. Obwohl David Geffen, der Chef von Geffen Records, der im November 1980 Onos und Lennons ,Double Fantasy" veröffentlicht hatte und auch die Originalversion von ,Season of Glass" herausbrachte, Ono eindringlich bat, das Cover zu ändern, blieb Ono standhaft. ,Ich werde das Cover nicht ändern", erinnerte sich Ono, Geffen gesagt zu haben. ,Das ist es, was John jetzt ist." Begleitet von derselben Band, die bereits auf ,Double Fantasy" gespielt hatte, reiht sich der Sound von ,Season of Glass" nahtlos an dieses Album an, das zu dieser Zeit bereits als künstlerischer Triumph für Ono galt, die junge Künstler wie die B-52s und Sonic Youth inspirierte. In den Jahren seit seiner Veröffentlichung hat das Album ,Season of Glass" aufgrund der ehrlichen, liebevollen und manchmal erschütternden Natur seiner Songs nur noch an Bedeutung gewonnen. Heute wird es allgemein als kraftvolles künstlerisches Statement über Trauer und Verlust gewürdigt und gilt als Meilenstein sowie als eines von Onos besten Werken - ein vollendetes künstlerisches Statement.
Vesu’s returns with List of Lizards IV, the fourth installment in his ongoing series, released July 17, 2026 via
Managua Records in partnership with Moodmusic—marking his first release on the label.
Composed by Vesa-Matti Kivioja, the album features eight original tracks written specifically for the Vesu’s
moniker, blending atmospheric depth with refined musical storytelling. Guest appearances from Kristos’, Georg
Marander, and Tinu add further texture to the record’s layered sound.
Alongside digital formats, List of Lizard IV will also be available on vinyl LP format.
Hailing from Sheffield, MAU MAUS were one of the pioneering hardcore punk bands of the early to mid 80s, releasing a string of classic singles and an album for Pax/Rebellion at the time. They returned reborn in 2021, with new singer Danny, and with 10 songs recorded through lockdown which were released on Boss Tuneage as "The Enemy Within" 12" - the first official MAU MAUS new release in over 30 years! That release mixed 5 brand new songs with 5 re-recordings of classic 80s tracks, and it showed that the 21st century MAU MAUS had not lost any of their energy, bite and anger over the years and subsequently the release sold out within a couple of months and the band went on to show they were blistering live as well across numerous gigs and tours. Now, Boss Tuneage is delighted to announce the long awaited follow up to "The Enemy Within" and the bands full length album "THE BATTLE SCARS OF HUMAN DEBRIS" which features 13 slices of raging hardcore punk which feels as relevant for 2026 as it would have done in 1986!! The band have tours/gigs planned around the world to coincide with this album and it's great to put a new MAU MAUS album out to the world!
Random Vinyl. In einem langen und emotional anstrengenden Jahr, in dem ich drinnen war (allein, in meinem Fall), habe ich mich dabei ertappt, über Spiegel nachzudenken. Wie man es vermeidet, an den meisten Tagen zu viel Zeit vor ihnen zu verbringen. Eine Bestandsaufnahme des echten, physischen Selbst ist harte Arbeit, Arbeit, gegen die ich nicht gänzlich etwas einzuwenden habe, die für mich aber sofort gefährlicher wurde, als ich mit ansehen musste, welchen sehr realen Tribut Zeit, moderne Ängste, Isolation und Langeweile von mir forderten. Es schien einfacher, mich in eine nicht allzu ferne glorreiche Vergangenheit zu versetzen, die Erinnerung als Mittel sowohl zur Begeisterung als auch zur Heilung zu nutzen. Aber wo wir gerade von Aufregung sprechen: Ich stolpere gerne auf eine Band zu, die keine Agenda und keinen Zweck hat und deren Sound fast zufällig entdeckt wird. So habe ich Wednesday zum ersten Mal gehört. Die Band kam zu mir und ich weiß nicht mehr, wie oder warum. Sie tauchten einfach auf, als wären wir unser ganzes Leben lang aufeinander zugegangen. I Was Trying To Describe You To Someone prägte meinen Sommer 2020, und in Klang, in Geist, in den zentralen Themen und deren Umsetzung versetzte es mich zurück in eine Zeit vor der heutigen, was ich damals gebraucht hatte. Die Vergangenheit kann sich weniger höllisch anfühlen als die Gegenwart, wenn wir manchmal nicht ganz ehrlich zu uns selbst sind. Da ist dieser Trick der Nostalgie, mit dem ich in meinem eigenen Schreiben viel Zeit verbringe und der mich in meinem eigenen Leben etwas quält. Die sehr reale Vorstellung, dass Nostalgie sowohl ein nützliches Werkzeug als auch eine Waffe ist, wenn sie nicht mit etwas gepaart ist, das einer Art rigoroser Ehrlichkeit nahekommt. Aber wenn ich noch einmal auf all diese Ideen von Nostalgie und unseren alten, kniffligen, vergangenen Ichs zurückkommen darf, die tatsächlich Teil des Backsteinhauses sind, das unser gegenwärtiges Selbst ausmacht, dann hoffe ich, dass du, lieber Hörer, an diesem Album genau den Moment am Anfang von ,The Burned Down Dairy Queen", in dem Karly singt: ,I was hiding in a room in my mind / and I made me take a look at myself." Denn wenn du, so wie ich, Spiegel gemieden hast - sowohl metaphorische als auch echte -, dann wird das Album hier zu einem Leuchtturm, der hell durch die Dunkelheit meiner ansonsten dunklen und leeren Kammern hallt. So viele dieser Songs beschäftigen sich mit der Vergangenheit auf weit weniger romantische Weise, als ich es bisher getan habe, und ich sehnte mich verzweifelt nach der Neuausrichtung, die dieses Album bot. Also, ja, die Songs sind gut. Vielleicht kurbelst du an einem angenehmen Tag auf der richtigen Strecke in der warmen Jahreszeit die Fenster herunter und drehst die Lautstärke auf, wenn ,Birthday Song" richtig laut und zum Mitsingen wird. Vielleicht sitzt du nachts auf einem Dach, näher am Mond als du es auf dem Boden warst, und lässt dich von ,Ghost Of A Dog" durchschütteln und zu einer nächtlichen Erkenntnis treiben, die du in der Stille nicht hättest haben können. Aber selbst über all dem, über all den Freuden und der Gnade, die die Klänge dieses Albums bieten mögen, hoffe und glaube ich auch, dass es jeden, der zuhört, daran erinnern wird, dass wir eine Ansammlung vieler Reflexionen sind. Die alle Geduld verdienen. - Hanif Abdurraqib
Everything I Ever Saw finds THE MENZINGERS entering a new era in what"s already been a storied career. The Philadelphia punk legends" eighth album chronicles moments of significant change-the personal, the political, and the universal-while returning to the core creative principles that first put them on the map with listeners the world over. Twenty years in, the Menzingers have discovered that the wisdom gained with time"s passing is even stronger than the emotional armor they once wore in their youth, and Everything I Ever Saw captures the quartet embracing the here and now while strengthening the bonds that have held them together. THE MENZINGERS have always created as a four-headed unit, with all members (vocalist/ guitarist Greg Barnett, vocalist/guitarist Tom May, bassist Eric Keen, drummer Joe Godino) throwing in their respective talents as part of the craft-but for Everything I Ever Saw, the group worked in creative symbiosis more than ever before. "The way we made this record feels the most like how the band was in the very beginning: Me and Tom coming to the band with the most basic element of a song, and the four of us shaping that," Barnett says. Instrumental in building that excitement was locally centered and nationally renowned production legend Will Yip, who threw in with the Menzingers on 2017"s After the Party and their sonically expansive 2019 record Hello Exile. This time around, Yip once again became an unofficial Menzinger while the band crafted these 11 songs in their South Philly space. "Working with Will was like a homecoming," May beams while talking about Yip"s contributions. "We"ve grown up together over these years, and we"re still incredibly close friends. He"s the best at gassing you up and making sure everybody"s on the right page, but he"s also so good at pointing out stuff that might not fit the vision without being a fucking prick. He"s the hardest working person that we"ve come across in the music industry, and he"s incredibly inspiring."
Auf ,Reflections Vol. 3: Water Poems" bringen Félicia Atkinson und Christina Vantzou ihre Freundschaft und ihre atmosphärische Kunstfertigkeit in einem feierlichen Fokus zusammen. Gesprochene Worte und orchestrale Fantasie fließen wie Nebenflüsse in einen einheitlichen Strom und ergeben eine Sammlung traumhafter Lieder und Klanglandschaften, die im Meer, im Himmel und in den Steinen verankert sind. Mit elektroakustischen Instrumenten, Gesang und Umgebungsgeräuschen lädt Water Poems die Zuhörer in einen unbewussten Raum ein, irgendwo zwischen alltäglicher Intimität und dem Geheimnis des Ozeans, aus dem alles Leben entsteht. Atkinson und Vantzou haben sich 2009 kennengelernt und seitdem immer mal wieder zusammengearbeitet, aber ein Konzert 2019 in der Philharmonie in Paris hat dieses Projekt richtig in Gang gebracht. Da beide jetzt an der Küste leben (Félicia am Ärmelkanal, Christina am Mittelmeer), wurde das Meer natürlich zu ihrer Muse. ,Das Meer wurde nicht als monolithische Postkarte betrachtet", erklärt Atkinson, ,sondern eher als eine Person an sich; eine Energie, ein Geheimnis, ein komplexer Charakter, dem wir als Menschen, die am Meer leben, jeden Tag begegnen." Im Dialog mit dem Land und der Küste nahmen ihre Sprache und ihre Klänge einen sakramentalen Charakter an. ,Ein feierliches Gefühl, ein Gefühl des Dienens, zieht sich tief durch dieses Album", bemerkt Vantzou, ,ich habe das schon einmal gespürt, aber hier, in der Zusammenarbeit mit Félicia, ist es stärker." Stimme, Atem und wässrige Texturen prägen den Ton des maritimen Mysteriums von Water Poems. Neu in Vantzous Praxis und seit langem ein prägendes Merkmal von Atkinsons Werk, gewinnen ihre gesprochenen Worte hier an relationaler Intimität, indem sie sich gegenseitig und die Uferpromenade ansprechen. Die Texte wurden über zwei Jahre hinweg gemeinsam zusammengestellt. Mit radikaler Unschuld lenken sie das Bewusstsein auf die verborgene Auftriebskraft und die unbewussten Strömungen, die durch das Leben fließen: ,Wie kann ein Boot schwimmen? Wie kann ein Flugzeug fliegen? Wie kann ein Körper schwimmen? Wie kann ein Mensch träumen?" Was mit nah aufgenommenen Stimmen und Feldaufnahmen begann, wurde um Synthesizer, Gongs und Metallophone, Klavier, Vibraphon, Rhodes, Gitarren und Mellotron erweitert. Das Gezeitenklavier des Eröffnungstracks ,Film Still / The Sea" zieht uns in die unbewussten Gewässer des Albums. Enthalten sind Feldaufnahmen, die Vantzou in Delphi in der Nähe des legendären Orakels von Pythia aufgenommen hat - ihr griechisches Erbe verleiht diesem Ort der Vorfahren eine zusätzliche Dimension. Dieser Track und ,Water Poems" als Ganzes sind Ausdruck unseres geologischen Erbes und rufen zum Schutz der Küsten und zu einer Vertiefung unserer Beziehung zu unseren Küsten auf. Ein Teil der Einnahmen aus dem Album geht an Arion, ein gemeinnütziges Naturschutzprogramm für das griechische Mittelmeer. Der langjährige Freund und Mitstreiter John Also Bennett hat bei ,Scorpio Purple Skies", dem kosmischen Finale des Albums, mit E-Gitarre, Lap-Steel-Gitarre und Gesang mitgewirkt. Diese üppige Instrumentierung passt super zu den Science-Fiction-Visionen und der feierlichen Atmosphäre des Albums. Water Poems wurde in The Old Carpet Factory, einem Herrenhaus aus dem 18. Jahrhundert auf der griechischen Insel Hydra, in der Villa Medici aus dem 16. Jahrhundert in Rom und in Les Dunes, Atkinsons Heimstudio in der Normandie, aufgenommen. Mehr als das historische Prestige dieser Orte war es die spürbare Geschichte ihrer Landschaft, die die Musik geprägt hat. Atkinson sagt, dass sie sich zu ,Orten mit seltsamer Anziehungskraft" hingezogen fühlten. In der Villa Medici ,haben Steine und Mineralien das gesprochene Wort beeinflusst", bemerkt sie. ,Wir beide legen Wert auf Gefühl, Atmosphäre und Klang", fügt Vantzou hinzu, ,was er hervorruft und was er bewirkt. In unserem Fall konzentrieren wir uns auf die grundlegenden Elemente: Wasser, Luft, Fels, Kosmos - allesamt lebenswichtig.» Von der Insel Kreta aus arbeitete Vantzou den finalen Mix fertig und tauschte dabei Dateien mit Atkinson aus. Immer noch mit der Küste verbunden, verlief der Mixing-Prozess geduldig und wurde von wichtigen Pausen geprägt. Water Poems spiegelt wider, was die Meeresbiologin Rachel Carson uns in Erinnerung ruft: ,Am Rande des Meeres zu stehen bedeutet, Wissen über Dinge zu haben, die so nahezu ewig sind, wie es das irdische Leben nur sein kann." Es zelebriert rituell dieses ozeanische Gefühl als wichtige Quelle der Gelassenheit und Intelligenz. In einer Welt, die von hitzigen Meinungen und ökologischer Vernachlässigung geprägt ist, lenkt Water Poems unsere Aufmerksamkeit auf ,die Quellen der Quellen". Damit schafft es Raum, um uns wieder mit unseren elementaren, animalischen Instinkten zu verbinden und uns auf tiefere Strömungen einzustimmen. Water Poems von Félicia Atkinson und Christina Vantzou ist der dritte Band von Reflections, einer Reihe zeitgenössischer Kollaborationen von RVNG Intl..
Everything I Ever Saw finds THE MENZINGERS entering a new era in what"s already been a storied career. The Philadelphia punk legends" eighth album chronicles moments of significant change-the personal, the political, and the universal-while returning to the core creative principles that first put them on the map with listeners the world over. Twenty years in, the Menzingers have discovered that the wisdom gained with time"s passing is even stronger than the emotional armor they once wore in their youth, and Everything I Ever Saw captures the quartet embracing the here and now while strengthening the bonds that have held them together. THE MENZINGERS have always created as a four-headed unit, with all members (vocalist/ guitarist Greg Barnett, vocalist/guitarist Tom May, bassist Eric Keen, drummer Joe Godino) throwing in their respective talents as part of the craft-but for Everything I Ever Saw, the group worked in creative symbiosis more than ever before. "The way we made this record feels the most like how the band was in the very beginning: Me and Tom coming to the band with the most basic element of a song, and the four of us shaping that," Barnett says. Instrumental in building that excitement was locally centered and nationally renowned production legend Will Yip, who threw in with the Menzingers on 2017"s After the Party and their sonically expansive 2019 record Hello Exile. This time around, Yip once again became an unofficial Menzinger while the band crafted these 11 songs in their South Philly space. "Working with Will was like a homecoming," May beams while talking about Yip"s contributions. "We"ve grown up together over these years, and we"re still incredibly close friends. He"s the best at gassing you up and making sure everybody"s on the right page, but he"s also so good at pointing out stuff that might not fit the vision without being a fucking prick. He"s the hardest working person that we"ve come across in the music industry, and he"s incredibly inspiring."
This LP repress is on black vinyl, includes A3 Theatrical Poster, Booklet + DL Card. Following the huge recent success of ‘King Rocker’, spotlighting The Nightingales as one of the best band’s in Britain, comes the soundtrack. Comedian Stewart Lee and director Michael Cumming (Brass Eye, Toast Of London) investigate a missing piece of punk history. Robert Lloyd, best known for fronting cult Birmingham bands The Prefects and The Nightingales, has survived under the radar for over four decades. But how, if at all, does Robert want to be remembered? The anti-rockumentary ‘King Rocker’ weaves the story of Birmingham’s undervalued underdog autodidact into that of the city’s forgotten public sculpture of King Kong, eschewing the celebrity interview and archive-raid approach for a free-associating bricolage of Indian food, bewildered chefs, vegetable gardening, prescription medicines, pop stardom and pop art. All of the highlights from the film are here, along with rarities which won’t appear on any of the deluxe reissues of the Nightingales’ catalogue, among them 7″ versions of “Use Your Loaf”, the Bob Luman hit “Let’s Think About Living” and “Black Country”, a glam remix of crowd favourite “Thick And Thin” and a version of Christy & Emily’s “Ghost” which rivals the Nightingales’ take on TLC’s “Unpretty” for sheer beauty. The only act with roots in the punk era that have gone on to make records more captivating, cutting and entertaining today than at any point in their past; 2022 will be a busy year for the Nightingales, with months of live dates planned, a limited edition remix 12″, deluxe reissues of both ‘Hysterics’ and ‘In The Good Old Country Way’, and a hardcover book collecting Robert’s lyrics. “An inspiring comeback story that feels profoundly necessary” The Quietus // “Lee tells Lloyd’s story with skill, passion and verve” The Times // Track listing: A1 Use Your Loaf
This LP repress is on black vinyl, includes A3 Theatrical Poster, Booklet + DL Card. Following the huge recent success of ‘King Rocker’, spotlighting The Nightingales as one of the best band’s in Britain, comes the soundtrack. Comedian Stewart Lee and director Michael Cumming (Brass Eye, Toast Of London) investigate a missing piece of punk history. Robert Lloyd, best known for fronting cult Birmingham bands The Prefects and The Nightingales, has survived under the radar for over four decades. But how, if at all, does Robert want to be remembered? The anti-rockumentary ‘King Rocker’ weaves the story of Birmingham’s undervalued underdog autodidact into that of the city’s forgotten public sculpture of King Kong, eschewing the celebrity interview and archive-raid approach for a free-associating bricolage of Indian food, bewildered chefs, vegetable gardening, prescription medicines, pop stardom and pop art. All of the highlights from the film are here, along with rarities which won’t appear on any of the deluxe reissues of the Nightingales’ catalogue, among them 7″ versions of “Use Your Loaf”, the Bob Luman hit “Let’s Think About Living” and “Black Country”, a glam remix of crowd favourite “Thick And Thin” and a version of Christy & Emily’s “Ghost” which rivals the Nightingales’ take on TLC’s “Unpretty” for sheer beauty. The only act with roots in the punk era that have gone on to make records more captivating, cutting and entertaining today than at any point in their past; 2022 will be a busy year for the Nightingales, with months of live dates planned, a limited edition remix 12″, deluxe reissues of both ‘Hysterics’ and ‘In The Good Old Country Way’, and a hardcover book collecting Robert’s lyrics. “An inspiring comeback story that feels profoundly necessary” The Quietus // “Lee tells Lloyd’s story with skill, passion and verve” The Times // Track listing: A1 Use Your Loaf
Mit „Wagner: The Ring – An Orchestral Adventure“ erscheint Henk de Vliegers orchestrale Fassung des
„Ring des Nibelungen“ auf Vinyl. Die Einspielung mit dem Hong Kong Philharmonic Orchestra unter
der Leitung von Tarmo Peltokoski präsentiert die musikalischen Höhepunkte aus Wagners monumentalem
Opernzyklus, dessen vollständige Uraufführung vor 150 Jahren im August 1876 in Bayreuth stattfand.
De Vlieger formte aus den vier Teilen – „Das Rheingold“, „Die Walküre“, „Siegfried“ und „Götterdämmerung“ – eine etwa 70-minütige Orchestersuite. Im Mittelpunkt steht dabei die musikalische Dramaturgie
des Gesamtwerks. Prägende Leitmotive wie das Rheingold-Motiv, der Walkürenritt oder Siegfrieds Heldenthemen werden in einen geschlossenen symphonischen Spannungsbogen integriert. Wagners vielschichtige
Orchestrierung tritt in dieser Fassung besonders deutlich hervor.
Das Hong Kong Philharmonic Orchestra widmet sich der Partitur mit differenzierter Klanggestaltung und
präziser Dynamik. Unter Tarmo Peltokoskis Leitung entsteht eine Interpretation, die strukturelle Transparenz mit dramatischer Zuspitzung verbindet und die klangliche Bandbreite des Werks herausarbeitet.
Lockhart is a new melodic rock/AOR band from Canada, fusing synthesizer-fueled eighties arena rock with classic hard rock. The trio consists of Devon Kerr (vocals, guitars, keyboards), Jason Junop (bass) and Fabio Alessandrini (drums). Jason is best known for his work in Cauldron and Goat Horn. Devon’s main band is Axxion, and Fabio plays or has played in Bonfire, Enforcer, Annihilator, Hardline and many others. Lockhart issued their debut EP »No Chance« in 2022, followed by the single “City Pulse” in 2025. The band has signed with High Roller Records, and their first full-length album »City Pulse« is now ready to be unleashed to the public. It's hard to describe the specific sound of Lockhart in all its details but on »City Pulse« you will certainly hear a lot of Journey, Boston, Toto, Foreigner, REO Speedwagon, and maybe even some Starcastle. “The influences are endless,” comments the vocalist, guitarist and keyboard player Devon Kerr, “and they go deep. I appreciate the comparisons. These bands are monumental. Lockhart has a sound of its own though. Bands that existed during the times you mentioned definitely provide influence! However, if you look past the surface (overdriven guitars and old synthesizers), you’ll hear influences from 50s doo wop, legends like Brian Wilson, and straight up choral music, too.” Compositions such as “The Dose That Made You Poison”, “Under Fire”, “Before The Fall’” or “Together As One” are very well constructed and flawlessly performed. “For me, songwriting is a deliberate process,” explains Kerr. “I set out a time and carve out the songs. Lyrics are written last. Once the song is ready, it undergoes hours of polishing to mold the perfect choir parts, guitar leads, and so on. Everything is very deliberate and carefully selected. Nothing was written by accident.” You can clearly hear that on »City Pulse«. With their melodic, at times even poppy approach Lockhart may stand out a bit on High Roller Records. Devon Kerr: “Our music has so many elements that traditional metal fans value, but with something very different, too. Something that might be new for some of the High Roller Records fanbase. I mean for those unsure, we’ve got Nick from Municipal Waste shredding guitar leads on ‘You Wouldn’t Know Love’, and Ian from Cauldron on ‘Can’t Shake It’ …”
After few years of collaboration, Stinging Ray and iRiE iTES Records, have joined forces to produce this brand new album entitled The Man From Beijing.
Comprising 16 tracks, this album showcases the amazing voice of this Reggae singer rising from the east. His music dives into a wide spectrum of themes, reflecting both personal depth and global realities-from faith and friendship to love, money, and an uncertain future. Through sharp, conscious lyricism, he sheds light on social inequalities and challenges the influence of the powerful, urging listeners to rise above limitations and stay true to their values.
The Man From Beijing is an album that will undoubtedly mark Stinging Ray's career, and will undoubtedly be one of his landmark albums. A must-have for all Reggae Roots fans!
Mata Disk returns to Nous'klaer Audio this summer with four minimal after house cuts. The type of tracks you'd want to hear on a Monday morning of a weekend of raving, with no end in sight.
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Last delivered 32 days ago available to reorder, subject to availability
Following a huge wave of global support since its digital debut, ‘Edge Of Desire’ from Jonas Blue & Malive finally lands on 12" vinyl. A fitting format for one of the most talked-about house records of the past twelve months.
Since its release in July 2025, ‘Edge Of Desire’ has become a genuine streaming and club phenomenon. The sun-drenched house cut built on shimmering guitar riffs, bubbling synths and an irresistible vocal hook quickly took on a life of its own, topping Beatport Overall Chart and spending weeks in the Top 10 while racking up 100 million streams worldwide and over 100,000 global radio plays. From major playlists to festival stages, the track’s uplifting energy has made it a staple for selectors and listeners alike, with early DJ support from tastemakers including Adriatique, Adam Ten and Carlita.
Now, ahead of summer 2026, the record arrives on a special 12" vinyl edition bringing together the original alongside standout reinterpretations from some of house music’s most respected names. Dutch favourite Franky Rizardo delivers a groove-heavy club workout, Florida legends Jazz-N-Groove add their unmistakable soulful house touch, while Grigoré & Serve Cold transform the track into a deep, rolling dancefloor weapon.
With the original continuing to dominate playlists and dancefloors around the world, the vinyl release of ‘Edge Of Desire’ feels perfectly timed. Ready to soundtrack open-air sets, beach parties and late-night club moments throughout the season. For DJs, collectors and house music fans alike, this pressing captures the record at the peak of its momentum: a modern Defected anthem finally given the wax treatment it deserves.
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Last delivered 56 days ago available to reorder, subject to availability
In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.
Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.
The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.
At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.
Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."
Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.
Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.
The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.
At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.
Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."
Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.
out of Stock
Last delivered 3 months ago available to reorder, subject to availability
In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.
Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.
The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.
At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.
Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."
Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.
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Last delivered 3 months ago available to reorder, subject to availability
Off the back of an epic 3 part triple album “Sidequests”, Session Victim kept the collaborators in tow with “The Disconnect” EP, featuring the talents of Kenneth Scott, Rossano Snel, and Quarion across 5 tracks. It’s the Empire Strikes Back of Rhythm Section EPs – following up from widely acclaimed and best seller “Basic Instinct”. Balancing funk elements of breakbeats, bass guitar, rhodes and mellow synths with finessed modern production, the duo have assembled another masterclass in precise yet characterful house music.
The record begins with “Hey, Activate!”, oozing funk, ambient pads, a groove bassline and optimal arpeggiated synth noodling sets the tone for the whole EP. “Dream Theory” is quite it’s namesake, with a distant sax solo, tremolo sine motifs and a sumptuous lick combining piano and the Session Victim trademark bass guitar.
B-side opener “Flotsam” comes through with smooth breaks and incidental style sampling harking back to the vibes of Herbert, with slow filtered chord groove referencing the vibes of early French Touch masterminds Cassius.
Progressing into more relaxed territory, still ideal for dancefloor moments: “Open Minds” is indebted to old soul jams with bongos, muted guitars and rhodes followed by “Loom”, using similar elements with a vibe akin to early Bonobo.
This EP is testament to Session Victim’s mastery of housemusic, being their 40th EP and standing firm in a crowded scene. Their consistent application of production precision is carried by an emotional heart of gold that you can hear in every record they make. Not to be missed.
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Last delivered 42 days ago available to reorder, subject to availability
French-born, Berlin-based DJ and producer Benabou returns with 'Rise & Merge', her second solo EP and first standalone project since 2018's 'Hottan'. She now presents a body of work that reaches beyond the familiar contours of techno while retaining the rhythmic precision of her core sound. The six-track EP emerged from a period of creative recalibration. Benabou found herself drawn towards exploratory forms, embracing movement via dub structures, broken rhythms and ambient atmospheres alongside more direct dancefloor energy.
Benabou's position as a mastering/cutting engineer at Berlin's Manmade Mastering studio is a central element of the record. Conceived as a vinyl release and brought to life with the assistance of Mike Grinser, the run time is deliberately contained to 15 minutes per side to preserve the EP's warmth and fidelity.
The inky opening track 'Projet G' slinks through cosmic textures and prowling sub-bass, built around layered Korg Mono/Poly and rich analogue components. Kliche's remix follows with a spacious, kinetic dub techno interpretation that teases out the original's deeper currents. 'Interlude' then offers a fleeting bridge between worlds. Conceived during a flight back to Berlin, its unfinished quality is entirely intentional, allowing the listener to imagine where it might lead.
The B-side flows towards club territory with 'Rise' and 'Shift'. Both tracks favour broken beats and fluid arrangements that lend them an organic, elemental quality. 'Merge' provides the EP's emotional resolution. Its experimental/ambient resonance unfolds through wispy melodies and porous textures; the state of separate elements finding their way back to a common origin.
"I’m really happy to present something this eclectic and to go where people might not expect me", Benabou explains. "To step slightly outside the techno world I know, and reach for something more open and luminous."
UK electronic duo Prospa unveil their long-awaited debut album Free Your Mind, a bold, emotionally charged, and club-focused statement from one of dance music’s most exciting acts out now via CircoLoco Records.
Years in the making, Free Your Mind captures the full scope of Prospa’s evolution: from breakout underground producers to globally recognized festival headliners and chart-topping innovators. Across the album, the Leeds duo seamlessly blend euphoric house, rave nostalgia, breakbeat experimentation, progressive emotion, and peak-time club energy into a body of work that feels both deeply personal and built for massive communal release.
The album’s final moment is the focus track “Dreams,” a euphoric anthem that drives home Prospa’s songwriting and production sensibilities. Balancing cinematic atmosphere with the duo’s unmistakable dancefloor instincts, “Dreams” channels the reflective, ecstatic energy that defines the album as a whole, equally suited to sunrise festival moments as late-night club systems.
The album arrives following a string of major singles that have propelled Prospa to new heights over the past year. Most recently, “Baby” with Murda Beatz became one of Miami Music Week’s most talked-about track IDs after being teased during a back-to-back set with Josh Baker, quickly spreading across social media thanks to its infectious vocal hook and stripped-back club precision.
Before that came the album’s title track “Free Your Mind” with Cloonee — a vocal house anthem that climbed into the Official Singles Chart top 20, alongside Beatport chart-topper “Love Songs” featuring Kosmo Kint. Together, the tracks established the foundation for an album that represents Prospa at their most expansive and fully realized.
Hailing from Leeds, childhood friends Harvey Blumler and Gosha Smith connected over their shared passion for electronic music – drawing inspiration from the likes of Daft Punk, Disclosure, The Chemical Brothers, and The Prodigy as they first started producing under the Prospa moniker in 2013. The duo broke out in late 2018 with the anthem “Prayer” earning support from high-profile tastemakers including The Fader and NME, while helping relaunch heritage house label Stress Records after a 13-year hiatus. Since then, Prospa have embarked on a rapid ascent to consolidate their status as one of the UK’s most exciting electronic acts.
Experts at crafting high-octane dancefloor-focused anthems as much as they are at composing more heartfelt, meditative moments, Prospa’s work continues to evolve, blurring and pushing the edges of these boundaries into their biggest statement yet
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Last delivered 28 days ago available to reorder, subject to availability
Welcome to the ROOTS REGGAE SOUND. A period in Reggaes history that followed the two year supremacy of Rocksteady, that began to tail off around the end of 1968. The Reggae sound many say did not come initially from the chop of the guitar but from the stabs from the Keyboard/Organ that produced that jeggae/jerking feel. The Roots element can be heard in the heartfelt lyrics and the stories told in the songs. So sit back and enjoy some Roots Reggae straight from the heart of Jamaica….
Classic Barrington Levy Album from 1984 restored and remastered for best ever sound.
Features the hit singles 'Money Move; and the Jah Shaka sound system anthem 'Praise His Name'. Unavailable for 40 years and first time ever released outside Jamaica.
Sleeve artwork design by the great Jamaican illustrator Limonius - highly collectable. Solid all-star roots backing from Sly & Robbie, Lloyd Parks.
Recorded and mixed at Dynamic Sounds and Channel One
* 180 gram audiophile vinyl
* Gatefold sleeve
* High quality PVC Protective Sleeve
* 4 page booklet with liner notes and photos
* Selection of easy listening songs, includes "Ticket To Ride", "Rainy Days and Mondays", "Please Mr. Postman", "Yesterday Once More" and solo songs by Karen's "Still Crazy After All These Years" and Richard's "Karen's Theme"
* Limited first pressing of 3.000 individually numbered copies on white vinyl
The Collected album by the Carpenters brings a beautiful collection from the immense popular soft-pop duo. From their humble beginnings in the late '60s until today, siblings Karen and Richard Carpenter are one of the most successful duos in musical history. With Karen's absolutely perfect vocal delivery and Richard's creative arrangements, they are unstoppable.
This 2LP set inside a gatefold sleeve brings together their hits, album tracks and more. It delivers the best selection of easy listening songs in a nutshell. Glorious pop nuggets by the Carpenters will melt the heart and uplift the soul, including "Close to You", "Ticket to Ride", "We've Only Just Begun", "Superstar", "Rainy Days And Mondays", "Bless the Beasts And the Children", "Hurting Each Other" and many more.
An Easter egg is the track "Karen's Theme" by Richard Carpenter, who dedicated this song to Karen after her tragical death in 1983.
Producing a distinctively soft musical style, they became one of the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, five television specials, and a short-lived television series.
The Carpenters had three No. 1 singles and five No. 2 singles on the Billboard Hot 100 and fifteen No. 1 hits on the Adult Contemporary chart. In addition, they had twelve top 10 singles. To date, the Carpenters' album and single sales total more than 100 million units.
African visions, Middle Eastern mirages, and cosmic pulsations: the map of Giuliano Sorgini’s sonic universe continues to expand, revealing new, uncharted territories.
Set for release on 10 July, the 7-inch Savana Selvaggia brings together two extraordinary, previously unreleased tracks, shedding light on one of the most visionary facets of Sorgini’s library music aesthetic. On Side A, “I misteri del mondo” (The Mysteries of the World) transports us to an imagined, ancestral Africa suspended between endless horizons, elegiac wilderness, and analogue electronics.
On Side B, “Arabian Safari” opens the door to a mystical, Arabic-tinged soundscape where African imagery blends with Middle Eastern influences and kosmische futurism. Driven by a potent mix of electronic drums, hypnotic sequencing, and fiercely inventive synths, it strikes a sonic kinship with the finest European Krautrock.
The dialogue between these two tracks perfectly highlights the composer's artisanal, experimental approach. Here, the Solina, Minimoog, modular circuits, pulsating synth lines, and suspended melodies intertwine to form a fascinating, enigmatic, and deeply personal sonic world—one built entirely by Sorgini in his Cat & Fox Studio in Rome, located a mere stone's throw from the RAI headquarters.
Two forgotten tracks. Two cinematic journeys whose original visuals have been lost to time. Two missing puzzle pieces in the ongoing recovery of the work of a composer who sounds more modern today than ever before. A magnificent sonic transmission from a bygone era that lands with the force of a contemporary revelation.
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