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Die Live Laugh Love-Kampagne ist in den Themen Wellness, Wachstum und der Philosophie des Albumtitels Live Laugh Love verwurzelt. Ironie wird als Werkzeug für den Humor genutzt, aber das Gefühl dahinter ist echt. Es spiegelt Earls aktuelle Lebensweise wider, bei der er sich für die Freude entscheidet und gleichzeitig in der Wahrheit geerdet bleibt. LLL weckt ein Gefühl von Nostalgie. Es erinnert uns an eine Zeit, in der sich das Leben voller Einfachheit und echter Verbundenheit anfühlte. Aber das ist kein blinder Optimismus. Blut, Mut und Dunkelheit existieren neben der Freude. LLL lässt Raum für Widersprüche und wählt trotzdem die Liebe.

"Carmina Burana macht Spaß, denn das Werk hat echte Emotionen. Das sind die beiden markanten Punkte, die in dieser lebhaft charakterisierten Aufführung deutlich werden und viele neue Hörer und Genießer gewinnen dürfte.“ Gramophone Magazine. André Previns bahnbrechende Aufnahme der Carmina Burana mit dem London Symphony Orchestra aus dem Jahr 1974 ist nach wie vor eine der elektrisierendsten Darbietungen von Orffs überschwänglicher Kantate. Vom bedeutungsvollen Eröffnungslied O Fortuna bis zum schwärmerischen Schlusschor bringt Previn die rhythmische Vitalität, die Sinnlichkeit und das theatralische Flair dieser hedonistischen Feier des Lebens und der Liebe zur Geltung. Die Solisten – Sheila Armstrong, Gerald English und vor allem Thomas Allen glänzen mit Klarheit und Charakter, während der London Symphony Chorus und der temperamentvolle Knabenchor der St. Clement Danes Grammar School die Aufführung abrunden. Nun erscheint diese Aufnahme auf Vinyl.

2024 Reissue

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

The band Mew had their first major commercial success with Frengers, described as "a work of quiet brilliance, aiming for the epic without straying into the bombastic, offering cerebral arrangements while keeping things accessible". Whilst their music may be classified as indie and on occasion progressive rock, a band member previously stated: "I usually say we are 'indie stadium.' A mix between 'feelings' and 'thinking' is usually good."

How To Save A Life, the debut studio album from Grammy-nominated pop-rock band, The Fray has been reissued on vinyl, featuring hit songs, “How To Save A Life,” and “Over My Head (Cable Car).” The album held the title for best-selling digital album of all time until 2010, selling over 4 million copies. The album continues to find popularity among new and long-time fans alike. A x12 trk Yellow LP Vinyl. Marketing.

Collecting Orders For 2025 Repress

Nicola Cruz on Cabaret Recordings!

Milian Mori shares his deep interest in combining mathematics, geometry, and data with emotion, dance, and fulfillment: technology meets nature, binary meets fluids, algorithm meets spirituality, dualism meets triality, machine meets human, randomness meets self-similarity.

His second album, »Triality«, consists of 16 tracks and is being released via raster as a double LP vinyl, CD, and digitally. Composed to be experienced seamlessly, the 53-minute-long album can be listened to from beginning to end like an audiobook, with no pauses between tracks, creating a continuous sonic experience.

Triality explores the ›unspeakable third in the second‹—a quality that is present everywhere but remains immeasurable. This concept strongly influenced Milian Mori during the composition of the album. In his live performances, he attempts to visualize this unique relationship through the strobe light, which exaggerates the interplay between light and darkness, creating a non-binary space between 0 and 1. The album can be experienced like a film without images—a film that speaks of a vision yet to unfold.

Reissue des Debütalbums der US-Dark-Wave-Band Cold Cave aus Philadelphia auf Ruby Red Glitzervinyl. "Love Comes Close" (2009) entstand aus späten Nächten, Second-Hand-Synthies und der stillen Dringlichkeit selbst gebastelter Schlafzimmeraufnahmen und erschien zunächst bei Heartworm Press, um später bei Matador Records neu aufgelegt zu werden, als die Band langsam Kultstatus erlangte. Elf düstere Popsongs für Einsame und Suchende – zerbrechlich, romantisch und von kaltem Licht erfüllt. Mit Anspielungen auf die frühen Experimente von The Human League, Throbbing Gristle und New Order verbindet das Album Gothic-Untertöne mit Indie-Charme und Loft-Synth-Pop. Eisolds Gesang ist distanziert und intim zugleich – poetisch, verletzlich und durchdringend. Vom stechenden Puls des Titeltracks bis hin zu den zeitlosen Live-Klassikern "Life Magazine", "Heaven Was Full" und "Youth And Lust" fängt "Love Comes Close" den seltenen Moment ein, in dem Isolation einer Verbindung weicht und Einfachheit auf emotionale Schwere trifft.

2019 wurde ihr Sound von der Indie-Rock-Legende Doug Martsch von Built to Spill entdeckt, woraufhin er Lê und Joao von Orua einlud, vorübergehend Mitglieder seiner Indie-Rock-Band aus den 90er Jahren zu werden. Später nahmen sie das letzte Album von Built to Spill, "When the Wind Forgets Your Name" auf, das 2022 bei Sub Pop Records erschien. Sie produzierten es gemeinsam und mischten es ab. Nach ausgiebigen Tourneen mit Built to Spill und ihren energiegeladenen Shows in den USA und Europa kehrten Orua nach Seattle zurück und nahmen ihr neues Album "Slacker" KLP307 mit Jim Roth auf, der auf den Aufnahmen auch Gitarre, Synthesizer und Percussion spielt. Ihr Sound mischt weiterhin die elektrischen Impulse dekonstruierter Gitarren mit einem hypnotisierenden Groove, der sowohl das Publikum als auch die Band in eine kollektive Trance versetzt.

Ob vor der Kamera, am Mikrofon oder jetzt im Musikstudio - Marleen Lohse beweist erneut ihr kreatives Gespür und ihre Vielseitigkeit. Bekannt ist sie aus erfolgreichen TV-Produktionen wie "Nord bei Nordwest", "Unsere wunderbaren Jahre", "Katakomben" oder Kinofilmen wie "Cleo", "La Palma" und "Happy Burnout". Nun zeigt sie eine neue Facette ihres Talents - als Musikerin. Mit "Wide Awake" veröffentlicht sie ihr erstes Album auf ihrem eigenen Label Amore Mio - ein Werk voller Gefühl, Tiefe und musikalischer Handschrift. Die Songs bewegen sich zwischen introspektivem Indie und melodischem Pop, getragen von einer warmen, atmosphärischen Klangwelt. Gemeinsam mit Andi Fins (u.a. Cäthe, Moritz Krämer) entstanden Texte und Melodien, die berühren und im Ohr bleiben. Für den Sound sorgte ein erfahrenes Team: Hanno Stick (Judith Holofernes) am Schlagzeug, Julius Hartog (Andreas Bourani) und Tim Neuhaus (Clueso, Glen Hansard) an den Gitarren. Henrik Menzel (Udo Lindenberg, Yvonne Catterfeld) verlieh dem Album durch Co-Produktion, Mix und Mastering seinen finalen Glanz. "Wide Awake" ist ein musikalisches Statement - ehrlich, emotional und eigenständig. Für alle, die Musik mit Charakter und Seele lieben.

Elektro Guzzi return with their 11th studio album, Liquid Center - more focused than ever, yet moresonically open. The album presents the trio on a new level: their sense of precision and structuremeets an unexpected depth and warmth.The sound is more restrained, more subtle - and in this way,it gains even more presence. What stands out: this album sounds different. And it feels different too.Over the course of a year, the band developed a recording technique that translates their analog liveenergy into a sonic image that captures both the physicality of a band in space and the coolabstraction of techno.The result is a sound that doesn’t seek loudness, but detail - clear, warm, deep,and with an almost artificial precision. Liquid Center is not a loose collection of tracks but a coherentalbum experience.With every listen, it opens up a little more: a new texture, a shifted perspective,another layer emerging from the space between groove and sound. Maybe it’s the music that’schanging. Or maybe it’s just the way you hear it.

Ramirez returns with THA PLAYA$ MANUAL II, the long-awaited sequel to his cult classic that helped solidify his place as one of underground rap’s most distinctive voices. Steeped in Southern-fried funk, Bay Area swagger, and Memphis-style menace, this new chapter finds Ramirez sharper, smoother, and more seasoned—delivering game like a streetwise sage with a gold grill grin.

Where the original Playa$ Manual was gritty and raw, THA PLAYA$ MANUAL II sounds like a player who's leveled up. The beats knock harder, the flows glide slicker, and the game is deeper. Ramirez weaves tales of betrayal, come-ups, late-night drives, and cold-hearted reality with the same charismatic cool that made him a standout in the $uicideboy$-adjacent G59 movement—but this time with a more refined, cinematic approach.

From trunk-rattling bangers to syrupy smooth cuts that soundtrack late-night escapades, THA PLAYA$ MANUAL II feels like a ride through Ramirez’s world with tinted windows up and the bass on max. It’s a record for the hustlers, the heartbreakers, the loners, and the legends in the making.

This is more than a sequel—it’s a statement: the playa’s still active, and the manual’s been updated.

2025 jährt sich zum 15. Mal die Komödie Scott Pilgrim Vs The World aus dem Jahr 2010, die von Edgar
Wright geschrieben, produziert und inszeniert wurde und auf der Graphic-Novel-Serie Scott Pilgrim von
Bryan Lee O’Malley basiert. Mit Michael Cera als Scott Pilgrim, einem Slacker-Musiker, der versucht,
einen Wettbewerb zu gewinnen, um einen Plattenvertrag zu bekommen, während er gleichzeitig gegen die
sieben Ex-Freunde seiner neuen Freundin Ramona Flowers kämpft.
Der Soundtrack der nun auf roter Vinyl erhältlich ist, wurde von Nigel Godrich zusammen mit Edgar Wright
produziert und enthält eine Reihe von Originalstücken, die von Beck komponiert und im Film von Michael
Ceras Band ”Sex Bob-Omb” eingespielt. wurden. Außerdem gibt es auch einen bisher unveröffentlichten
Song von Metric und auch Songs von Broken Social Scene, Beachwood Sparks, The Bluetones, Blood Red
Shoes, Black Lips , Frank Black und den Rolling Stones.

Metallic Print Sleeve

Johnny Sais Quoi releases his debut release on Music From Memory - a 7-track LP entitled ‘Love On Ice.’ Channelling the spirit of Italo-pop and New Wave, ‘Love On Ice’ was crafted in the whirlwind of spontaneity and energy that changing circumstances often bring. Born from transition and exploring themes of leaving, arriving, coming together, and breaking up, ‘Love On Ice’ serves as an outlet to process, escape, and celebrate the challenges of a new life.

Johnny crafts exquisite dancefloor-focused pop—familiar yet unique, imbued with his own touch, a distinctive sensibility, and a knack for infectious hooks. The opener, ‘No Guilty Pleasures,’ sets the tone immediately as Johnny works his magic with a palette of synths, drum machines, picked guitar, and processed vocals. The title track, ‘Love On Ice,’ delivers a classic Italo-infused dancefloor bomb, featuring a driving synth bass line overlaid by hypnotic arpeggios. There is much here for the dancer, but ‘Love On Ice’ also ventures beyond the dance floor; the closing tracks ‘Ref 23’ and ‘Let's Find A Home’ are prime examples, both showcasing Johnny’s depth and range with their melancholic, mellow atmosphere.

One of the most exciting voices in modern soul returns with Lilly - a deeply personal new album from Amsterdam-born singer, songwriter, and producer Danny Kuttner.

Blending 90s neo-soul, ECM-inspired jazz, and leftfield electronics, Lilly will resonate with fans of Hiatus Kaiyote, James Blake, and Billie Holiday – which Kuttner cites as some of the album’s key influences.

An emotional tour-de-force, the album is shaped by raw introspection and inspired by the passing of her grandmother. A stunning record that invites listeners into a world of vulnerability and sonic depth, and a must-have for vinyl lovers seeking soul, story, and standout production.

Indulge in a delicious audiophile epilogue to Princess P's Infinite Sonore compilation with this 2x12" musical offering.

Swiss DJ Princess P, known for her wide-ranging selections, that resonates equally on the dancefloor and in immersive listening spaces, has been a dynamic presence in the Swiss electronic scene since the mid ’90s and has cultivated a genre-defying style. Her sets have become staples at clubs like Zukunft and festivals such as Watching Trees and Convenanza, where she showcases her iconoclastic musical knowledge and maverick flair.

Yore drops the second Alfonso Bottone 12”, The Bar Floor EP.
Four cuts of deep-as-midnight, jazz-soaked house – lush melodies, rich textures, and grooves that hit straight to the floor. Emotional enough for the sunrise, driving enough for peak time.

Limited pressing – once they’re gone, they’re gone.

EN/JP liner notes by Doran and a hyper-realistic cover by Japanese visual artist/graphic designer Kai Yoshizawa using 3DCG software.

"8 Automated Works", the first full release by Componium Ensemble, an "indeterminate chamber music" ensemble helmed by Spencer Doran of Visible Cloaks. The project is inspired by the long history of automated musical instruments, beginning with the ancient Greek Archimedes and further developed by the Banū Mūsā brothers in 9th century Baghdad, who "first perfected the concept of a programmable, automated musician: a mechanically controlled flute which used hydraulic water pressure and a system of arrangeable punchcards using a visionary proto-MIDI structure", as Doran explains in the liner notes. This mechanical music-making was extended a millennium later with the use of aleatoric principles by the European Dietrich Nikolaus Winkel, inventor of the self-composing Componium mechanical music system. Doran continues this lineage further, using the possibilities of digital technology and its ability to automate a huge range of virtual instruments and introduce aleatoric elements, moving beyond human impulses and limitations, allowing "new shapes to emerge". Dedicated also to Noah Creshevsky, pioneer of what can be considered cyber-human music, Componium Ensemble features a wide and intriguing range of instruments including prepared piano, bowed harpsichord, celesta, bass clarinet, flute, cello, Balinese tingklik, and more, often in multiple groupings. Despite this variety of instrumentation and the seemingly formidable theoretical underpinnings, the music is very accessible and attractive, spacious and fresh, with a light touch and a sophisticated melodic sense which will appeal to pop fans as well as classical/contemporary music listeners. The album is mixed by longtime collaborator Joe Williams (Motion Graphics, Lifted) and available in 10-inch vinyl, ,

Comes with DL card, wrapped in shrink + a sticker. EN/JP liner notes. ** High grade experimental computer music that deserves a check - tip! **

The first LP release to commemorate the 10th anniversary of the release and to honor the late composer.

This collection, featuring seven pieces from 2011 to 2015, celebrates Noah Creshevsky's 70th year with a fittingly life-affirming and masterful verve. An award-winning composer who has studied with Nadia Boulanger and Luciano Berio, he began composing electronic music in 1971, using the power of circuitry, tape and then digital technology to create a "hyperreal" musical world in which recordings of human performers, both vocalists and instrumentalists, are juxtaposed and recombined in compositions which span eras, cultures and genres. His use of expanded musical palettes arises from an aesthetic of inclusion, guided by an open spirit and an expansive musical sense. The combination of the emotional power of human performances with the precision of computers create real-beyond-real super-performances of surprising control and virtuosity, resulting in a hypothetical and yet very real music, full of drama, humor, and tenderness. This album, Creshevsky's second release on EM, following the 2004 "Tape Music" compilation, gives ample evidence of both his mastery of digital technology and his profound, empathetic musical instincts. His ability to use the computer to highlight the gifts of human performers is displayed on every track, including a piece which focuses on Japanese vocalist Tomomi Adachi.

Das ursprünglich 2013 veröffentlichte einzige gemeinsame Album von Adam Green von The Moldy Peaches und Binki Shapiro von Little Joy ist eine charmante Ode an den Folk-Pop der 60er Jahre. Das Album nahm Gestalt an, als Green Little Joy einige Jahre zuvor auf einer Südamerikatournee unterstützte. Obwohl die zehn Duette hier offen über gescheiterte Romanzen und die daraus resultierenden emotionalen Turbulenzen sinnieren, sind sie überraschend sanft und sachlich gehalten. Auf luftigen Melodien und gezupften Gitarren, die durch subtile Synthesizer-Klänge akzentuiert werden, unterstreicht das Album die gegenseitige Bewunderung der beiden Musiker für ihre Arbeit und lädt zum wiederholten Hören ein.

50th Anniversary Reissue on limited edition 180g Yellow Marble. Recorded in front of a live audience at the Record Plant Recording Studio in Los Angeles in 1975, Nighthawks at the Diner debuts some of Waits" greatest classics like "Warm Beer, Cold Women" and "Eggs and Sausage" with a crack jazz ensemble backing him up and some of the greatest stage patter ever committed to record.

Machine Girl haben sich stets als eigenständiges und kreatives Klangphänomen gezeigt. Das Trio, bestehend aus Matt Stephenson, Sean Kelly und Lucy Caputi, verbindet eine punkbasierte Grundlage mit elektronischen Elementen und cineastischem Anspruch. Rave, Metal, Punk und elektronische Klänge treffen aufeinander und ergeben ein facettenreiches, energiegeladenes Soundbild. Mit einer stetig wachsenden Fangemeinde sowie lobender Besprechungen führt die Band ihren Weg mit ihrem siebten Studioalbum Psycho Warrior (MG Ultra X) konsequent fort.

2xLP schwarzes Vinyl im vollfarbigen Sleeve mit bedruckter Innenhülle

Die britischen Afro-Dub-Meister Soothsayers liefern mit "Fly Higher" ihr wohl bestes Werk ihrer drei Jahrzehnte langen Geschichte ab. Ihr mittlerweile 12. Studioalbum spiegelt die Essenz der Band aus Afrobeat, Soul, Jazz und Dub-Grooves wider. Die mitreißenden, eingängigen Melodien kommen durch dreistimmige Harmonien, Bläser-Hooks und hypnotisierende Basslines voll zum Ausdruck. Der Sound ist organisch und warm im originellen Soothsayers Songwriting-Stil, der eine Vielzahl von Einflüssen kombiniert, aber Klischees und Vorhersehbarkeit vermeidet. Featuring u.a. Youthsayers, die jamaikanische Jazzikone Tommy McCook, die britisch-nigerianische Sängerin Lizzy Donsumu, den ehemaligen Fela Kuti-Keyboarder Dele Sosimi und die britische Jazzmusikerin Julia Biel.











[i] BJP (Big John Price) [feat. Youthsayers]

"Originally released in 1990 on the legendary Australian label Extreme, The Annihilating Angel stands as one of Paul Schütze’s most visionary and cinematic works — a dark ambient masterpiece rooted in mystery, decay, and metaphysical beauty. Blending slow-burning soundscapes, processed field recordings, and abstract industrial textures, this album explores the sonic equivalent of sacred ruins and distant, imagined geographies.


Now officially reissued by Everland Music, this long out-of-print classic returns on vinyl with restored audio and updated packaging. The new brilliant remaster was handled by Miroslav Piškulić, a radio sound maestro renowned for his subtle approach to psychedelic electronic music. The result received praise from Paul Schütze himself — who called it the most faithful reproduction of his original vision to date."

I had become close friends with Thomas Ligotti, the pre-eminent writer of Nights and DeadEnds and Doubled Darknesses. I had written him many fan-letters, and we both wanted to work with each other. I Have A Special Plan For This World was our second work together, after our In A Foreign Town, In A Foreign Land. This album Channels an enormous emotional response from me. Ligotti was, is, and will be a huge influence on my work. No-one has seen the bells tolling, tolling, tolling for us all like Thomas. Our house is full of his original manuscripts and typescripts, which I have collected from him for nearly 30 years. Andrew Monster Liles has also ReDreamt, ReDreamed, the track and this new version is on Side 2 of the picture-disc, replacing “Extracts From The Bungalow Tapes”, which was on the B-Side of the original vinyl version. “Extracts From The Bungalow Tapes” will appear on the CD reissue of this album, as well as both vinyl versions which are on their picture-disc. Remastered from the original tapes by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside. This is one of the second group of 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2026, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

I was obsessed, am obsessed, by The Groundhogs, so gave C93 a chance to cover their perfect “Sad-Go-Round” from their perfect Solid album. I also loved Black Sabbath, but had listened to them so much that I never wanted to hear them again. So Michael Cashmore’s Perfect Playing of their intro to “Paranoid” was Perfect Way To Wave GoodBye to them, and slip into my visions of LUCIFER Over LONDON, May G+D DAMN him AGAIN. “The Seven Seals…” I wrote whilst sitting at my desk in my Then House in Aubrey Road, London E17 and drinking bottle after bottle of white wine till I collapsed. My cats then were Mao, Rao, and Yao — and Mao had left up for G+D. Even writing this, their names now makes my heart break and my eyes fill up. So I will stop writing them. We all meet again.Remastered from the original tapes by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the second group of 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2026, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Das Dance Arts Center ist ein maximalistisches, genreübergreifendes Musik- und Performance-Projekt der in Los Angeles lebenden Künstlerin Nicolette Norgaard. Angetrieben von Tanzmusik und verwurzelt im Geschichtenerzählen, ist DAC der Ort, an dem Club auf Theater trifft und die Seele des Performers auf das Werkzeug des Produzenten. Ihr Debütalbum ,dance arts center presents" ist ein Konzept-Mixtape im Stil einer fiktiven Broadway-Cast-Aufnahme, komplett mit Ouvertüre und Entr'acte. Es untersucht, wie wir uns in Beziehungen verhalten, uns emotional verkleiden, uns für die Liebe verwandeln und wie die Show manchmal auch nach dem Fallen des Vorhangs nicht endet. Klanglich bewegt es sich in einer Welt aus synthlastiger, grooviger Tanzmusik, die von Indie-Pop-Sensibilität und durchdachtem Songwriting geprägt ist. Jeder Song ist eine Geschichte, und jeder Beat trägt etwas Schwereres in sich, als er vermuten lässt. Aber DAC ist nicht nur aufgenommene Musik, sondern ein sich ständig weiterentwickelndes Live-Erlebnis. Norgaard bringt das Projekt mit der Präzision einer ausgebildeten Performerin und der Freiheit einer Person, die auf der Tanzfläche erwachsen geworden ist, auf die Bühne. Die Live-Show ist theatralisch, narrativ, verspielt und selbstbewusst. Sie bezeichnet es als ,dekonstruiertes Theater" und verwendet von Fosse inspirierte Choreografien, Personas, Metafiktion und Sketche, um etwas zu schaffen, das die Grenzen dessen, was Musik und Theater ,sein sollten", sprengt.

Für Joyer, das Indie-Rock-Duo der Brüder Nick und Shane Sullivan von der Ostküste, ist Distanz in letzter Zeit ein seltsamer roter Faden - Distanz von zu Hause, Distanz zueinander, Distanz von einer stabilen Routine. Ihr aktuelles Album ,On the Other End of the Line_" reflektiert, wie Aufenthalte an weit entfernten Orten sie geprägt haben, Ängste und ein brennendes Verlangen nach Verbindung offenbart haben. Letztendlich ist es jedoch eine hoffnungsvolle Reflexion zweier unterschiedlicher Perspektiven auf wechselnde Kulissen und den Druck der Kreativität, gefiltert durch eingängige Ernsthaftigkeit und knackige Sechs-Saiten-Klänge. Seit ihrem letzten Album ,Night Songs", das 2024 erschien, sind sowohl Nick als auch Shane in andere Städte gezogen - Nick von Brooklyn nach Philadelphia und Shane von Boston nach Brooklyn - und mussten sich an ein neues Leben gewöhnen. Zusammen mit Joyers immer hektischer werdendem Tourplan, bei dem sie mit Horse Jumper of Love, Wishy und villagerrr, um nur einige zu nennen, suchten die Brüder nach gesünderen Ansätzen für ihr Leben auf Tour und zu Hause und kämpften mit der Einsamkeit in einer neuen Stadt. Trotz der Höhen und Tiefen war das Tourleben für Joyer bereichernd - sie trafen Gleichgesinnte und wuchsen als Band zusammen, was den Wunsch nach neuem Material weckte. Eifrig darauf bedacht, die Pop-Melodik von Night Songs noch weiter voranzutreiben, begannen Joyer mit dem Schreiben eines neuen Albums und buchten acht Tage in einem Studio in Chicago mit Henry Stoehr von Slow Pulp, der sie zu einem experimentelleren Aufnahmeprozess ermutigte, der an Joyers Zeit vor der Live-Band erinnerte, als sie ohne Deadlines im Keller ihrer Mutter Demos aufnahmen. Sie reduzierten ihre Shoegaze-Einflüsse zugunsten folkigerer Elemente und weniger konventioneller, ambitionierterer Arrangements. On the Other End of the Line_ zeigt Joyer von ihrer verletzlichsten Seite, weniger auf Bilder und Abstraktionen setzend und einen Blick auf ihr brodelndes Inneres gewährend.

Für Joyer, das Indie-Rock-Duo der Brüder Nick und Shane Sullivan von der Ostküste, ist Distanz in letzter Zeit ein seltsamer roter Faden - Distanz von zu Hause, Distanz zueinander, Distanz von einer stabilen Routine. Ihr aktuelles Album ,On the Other End of the Line_" reflektiert, wie Aufenthalte an weit entfernten Orten sie geprägt haben, Ängste und ein brennendes Verlangen nach Verbindung offenbart haben. Letztendlich ist es jedoch eine hoffnungsvolle Reflexion zweier unterschiedlicher Perspektiven auf wechselnde Kulissen und den Druck der Kreativität, gefiltert durch eingängige Ernsthaftigkeit und knackige Sechs-Saiten-Klänge. Seit ihrem letzten Album ,Night Songs", das 2024 erschien, sind sowohl Nick als auch Shane in andere Städte gezogen - Nick von Brooklyn nach Philadelphia und Shane von Boston nach Brooklyn - und mussten sich an ein neues Leben gewöhnen. Zusammen mit Joyers immer hektischer werdendem Tourplan, bei dem sie mit Horse Jumper of Love, Wishy und villagerrr, um nur einige zu nennen, suchten die Brüder nach gesünderen Ansätzen für ihr Leben auf Tour und zu Hause und kämpften mit der Einsamkeit in einer neuen Stadt. Trotz der Höhen und Tiefen war das Tourleben für Joyer bereichernd - sie trafen Gleichgesinnte und wuchsen als Band zusammen, was den Wunsch nach neuem Material weckte. Eifrig darauf bedacht, die Pop-Melodik von Night Songs noch weiter voranzutreiben, begannen Joyer mit dem Schreiben eines neuen Albums und buchten acht Tage in einem Studio in Chicago mit Henry Stoehr von Slow Pulp, der sie zu einem experimentelleren Aufnahmeprozess ermutigte, der an Joyers Zeit vor der Live-Band erinnerte, als sie ohne Deadlines im Keller ihrer Mutter Demos aufnahmen. Sie reduzierten ihre Shoegaze-Einflüsse zugunsten folkigerer Elemente und weniger konventioneller, ambitionierterer Arrangements. On the Other End of the Line_ zeigt Joyer von ihrer verletzlichsten Seite, weniger auf Bilder und Abstraktionen setzend und einen Blick auf ihr brodelndes Inneres gewährend.

Für Joyer, das Indie-Rock-Duo der Brüder Nick und Shane Sullivan von der Ostküste, ist Distanz in letzter Zeit ein seltsamer roter Faden - Distanz von zu Hause, Distanz zueinander, Distanz von einer stabilen Routine. Ihr aktuelles Album ,On the Other End of the Line_" reflektiert, wie Aufenthalte an weit entfernten Orten sie geprägt haben, Ängste und ein brennendes Verlangen nach Verbindung offenbart haben. Letztendlich ist es jedoch eine hoffnungsvolle Reflexion zweier unterschiedlicher Perspektiven auf wechselnde Kulissen und den Druck der Kreativität, gefiltert durch eingängige Ernsthaftigkeit und knackige Sechs-Saiten-Klänge. Seit ihrem letzten Album ,Night Songs", das 2024 erschien, sind sowohl Nick als auch Shane in andere Städte gezogen - Nick von Brooklyn nach Philadelphia und Shane von Boston nach Brooklyn - und mussten sich an ein neues Leben gewöhnen. Zusammen mit Joyers immer hektischer werdendem Tourplan, bei dem sie mit Horse Jumper of Love, Wishy und villagerrr, um nur einige zu nennen, suchten die Brüder nach gesünderen Ansätzen für ihr Leben auf Tour und zu Hause und kämpften mit der Einsamkeit in einer neuen Stadt. Trotz der Höhen und Tiefen war das Tourleben für Joyer bereichernd - sie trafen Gleichgesinnte und wuchsen als Band zusammen, was den Wunsch nach neuem Material weckte. Eifrig darauf bedacht, die Pop-Melodik von Night Songs noch weiter voranzutreiben, begannen Joyer mit dem Schreiben eines neuen Albums und buchten acht Tage in einem Studio in Chicago mit Henry Stoehr von Slow Pulp, der sie zu einem experimentelleren Aufnahmeprozess ermutigte, der an Joyers Zeit vor der Live-Band erinnerte, als sie ohne Deadlines im Keller ihrer Mutter Demos aufnahmen. Sie reduzierten ihre Shoegaze-Einflüsse zugunsten folkigerer Elemente und weniger konventioneller, ambitionierterer Arrangements. On the Other End of the Line_ zeigt Joyer von ihrer verletzlichsten Seite, weniger auf Bilder und Abstraktionen setzend und einen Blick auf ihr brodelndes Inneres gewährend.

Limited edition PLUTONIUM vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1986 vinyl reissue includes 2 bonus tracks. "This is a bit different than previous records in that there's only a couple of songs with their distinctive bass licks and chunky melodies. So instead of bordering on redundancy, they prove their diversity by being more melodic, rockin', and even pop. This LP is more challenging than before and really great." - MaximumRockNRoll, April 1986 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition DARK TEAL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released as a 6-song ep in 1983 vinyl reissue includes 8 bonus tracks. "The long- awaited NAKED RAYGUN EP has finally been released, and musically it's a beauty. The songwriting is extremely imaginative, the vocals are unbelievably catchy, and the unique fuzzed-out guitar work sounds wonderful." - MaximumRockNRoll, October/November 1983 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition GRAPE CRUSH vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1988 vinyl reissue includes 4 bonus tracks. "Plenty of bands can claim Naked Raygun as an influence, from post-punkers to hardcore acts. All of them could learn a thing or two or three by studying the whoas. With Jettison... Naked Raygun achieved creative bliss. Here is an album that successfully combines dissonant instrumentation with supremely catchy vocals." - Punknews.org - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition ORANGE SWIRL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1990 vinyl reissue includes 3 bonus tracks. "We drove up there and my cousin Tracy had turned punk rock. And she said, 'I'm going to this show tonight. Come with me.' And so I went to this club called The Cubby Bear - it's right across the street from the baseball stadium - and a band called Naked Raygun were playing, and they're this legendary Chicago punk rock band. But I'd never seen live music. So my introduction to rock and roll was in a club that held about 150 people that was half full and I was belly up against the stage watching this incredible live band, like, sweat and spit and bleed in front of me." - Dave Grohl interview, The Record, 2011- // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition GREEN SWIRL vinyl, 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1985 vinyl reissue includes bonus track. "This band consistently defies categories. More than hardcore. More than rock. More than experimental. And this LP blazes out with a fury that's sharp, clean, and loud as fuck. The sound on this release is more concise and focused than earlier stuff but doesn't sacrifice any of their drive. Possibly one of America's most important bands." - MaximumRockNRoll, March 1985 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition BROWN & BLACK SWIRL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1989 vinyl reissue includes 2 bonus tracks. "...one of the best examples of melodic hardcore just a step away from emo. The album is excellently played and is full of breathtaking anthems that, from time to time, even wink at metal soundscapes." - Debaser - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

180 Gramm schweres schwarzes Vinyl. Violence Fog, eine sehr kurzlebige, aber kraftvolle Psychedelic-Rock-Band aus Baden-Baden, wurde 1969 gegründet. Die Besetzung umfasste Wolfgang Höfer (Gesang/Flöte), Karl-Heinz Höfer (Gitarre/Flöte/Gesang), Enno Dernov (Gitarre), Hilmar Beine (Bass) und Herbert Brandmeier (Schlagzeug). Ihre Musik mischte rohe, verzerrte Gitarrenklänge und britisch/amerikanisch beeinflusste bluesige Soli zu einem Sound, der von energiegeladenen Riffs bis zu stimmungsvollen und hypnotischen Psych-Jams reichte. Die Band baute sich schnell eine treue lokale Fangemeinde auf und spielte oft in Jugendzentren, Musikclubs und sogar bei Filmpremieren, wo ihre trippige psychedelische Lichtshow ihre Live-Auftritte begleitete. Ihr Repertoire umfasste sowohl Eigenkompositionen als auch Coverversionen von Songs wie ,Paint It Black". Violence Fog wurden bekannter, als sie am 23. April 1971 im Studio Ul des SWF-Radios in Baden-Baden fünf Titel aufnahmen, die ihr energiegeladenes Zusammenspiel aus schwindelerregenden Dual-Lead-Gitarren, Lautstärkedynamik und einer stimmungsvollen Rhythmusgruppe dokumentierten. Trotz ihres Talents und ihrer wachsenden Bekanntheit löste sich Violence Fog kurz nach Abschluss der SWF-Aufnahmen auf, was vor allem auf andere berufliche Verpflichtungen zurückzuführen war. Obwohl ihre gemeinsame Zeit nur von kurzer Dauer war, bleibt Violence Fog ein faszinierendes Kapitel in der lebendigen Psychedelic-Rock-Geschichte Deutschlands. Das Archiv-Plattenlabel Ancient Grease Records hat sich auf die Veröffentlichung seltener Heavy-Rock- und Psych-Musik aus den 1970er Jahren aus aller Welt spezialisiert. Begleitet wird das remasterte Audiomaterial von reichhaltigen visuellen Elementen und ausführlichen Liner Notes, um die unbekannte Musik dieser Ära für Sammler und neue Fans gleichermaßen wiederzubeleben und zu feiern.