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Coach Party melden sich mit ihrem zweiten Album, dem wilden Kracher "Caramel", zurück. Mit ihrem Debüt KILLJOY aus 2023 verkauften sie ihre Shows in Europa, USA und Grossbritannien aus, darunter auch die Londoner Scala. Sie tourten mit Queens Of The Stone Age und Royal Blood und spielten beim SXSW und in Glastonbury. Coach Party platzierten sich auf #1 der UK Independent Breakers, wurden von BBC Radio 1 als "Hottest Record In The World" ausgezeichnet und bei den AIM Awards 2024 für den "Meistgespielten Neuen Act" nominiert.

The Complete Piano Etudes of Philip Glass available for the first time on vinyl, housed in a 4LP Box set (also available as a 2CD format).



After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician,” confides Vanessa Wagner.

An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky and Dusapin as she is alongside Murcof and Rone.

With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails.

A tireless pioneer of new repertoires, she has been exploring the repertoire of minimalist composers for several years. For InFiné, she has dedicated 4 albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner and Nico Muhly.

After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano
by Philip Glass.
His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt.

Philip Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Dissatisfied with much of what was then considered modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with sitar virtuoso and composer Ravi Shankar.

The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris - a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage.

When Are You Leaving? is the second full-length album from LA-based Korean-American artist NoSo (Baek Hwong), and it marks a bold evolution in both sound and storytelling. Where their 2022 debut Stay Proud of Me introduced a deeply earnest voice navigating identity and belonging - earning praise from NPR's All Songs Considered, Paste, The Guardian, and a stunning performance at Tiny Desk - this follow-up turns the lens inward with even greater clarity and confidence.

Across a vibrant palette of disco grooves, jagged guitars, and atmospheric ballads, NoSo captures the quiet power of letting go - of fractured relationships, old narratives, and the need to be understood by others. The album is rich with emotional contrast: thorny truths wrapped in dreamy production, vulnerability delivered with the assuredness of an artist coming fully into their own.

Self-produced and sonically fearless, When Are You Leaving? is a coming-of-age record for anyone still in the process of becoming, and a testament to NoSo's place among the most compelling songwriters of their generation.

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

- Ltd. Col. 2LP: (Silver 2LP/Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Genre-defying producer, DJ, and Disco Halal founder Moscoman returns with Caviar, his most ambitious album yet. Moving beyond the club, Caviar is built for live performance - blending indie, shoegaze, and grunge influences with real instrumentation, deep emotion, and a sense of movement.
Featuring collaborations with COMA, SCUDFM, Tom Sanders, Justin Strauss, The Golden Dreggs, and Talee, the ten-track album was written between LA and Berlin, shaped by experimentation, travel, and reinvention. With echoes of The Cure, The Smiths, and Cocteau Twins, Caviar merges nostalgia with Moscoman’s signature “happy-sad” sound, crafting something both raw and refined.

On May 30, 2025, Pet Shop Boys will reissue their 18-track greatest hits singles collection ‘Discography : The Singles Collection’ on limited blue vinyl, featuring updated 2023 remasters. ‘Discography’ was first released in 1991. The album charted No 3 in the UK album chart and includes ‘West End Girls’, ‘Always on My Mind’, ‘It’s a Sin’, ‘Domino Dancing’ and ‘Suburbia’.



Pet Shop Boys are an English synth-pop duo formed in London in 1981. Consisting of vocalist Neil Tennant and keyboardist Chris Lowe, they have sold more than 100 million records worldwide and were listed as the most successful duo in UK music history in the 1999 edition of The Guinness Book of Records. Pet Shop Boys have won three Brit Awards and have been nominated for 6 GRAMMY Awards. At the 2009 Brit Awards in London, they received an award for Outstanding Contribution to Music. In 2016, Billboard named Pet Shop Boys the number one dance duo or group since the chart's inception in 1976. In 2017, the duo received NME's Godlike Genius Award, and in 2024, they were awarded the Pop Pioneers award at the MTV Europe Music Awards.

4th edition of Purple Print's V.A. Compilation has arrived featuring a nice variety of dance floor groovers

Monster Florence bewegten sich schon immer an der Grenze der Genres und vermischten Hip-Hop, Punk und alles, was zum Moment passte, zu etwas Einzigartigem. Ihr letztes Album "Master System" erntete Kritikerlob für seine bissigen Texte und düstere, filmische Atmosphäre, die die Ängste des digitalen Zeitalters einfing. Seitdem hat die sechsköpfige Band aus Colchester ihre explosive Liveshow auf UK- und Europa-Touren ausgedehnt. Ihre neue EP PETTY CASH, eine Währung für Sorglose, fängt den Nervenkitzel flüchtiger Freuden ein. Die 8 Tracks bewegen sich durch Höhen und Tiefen von Exzess und Nachwirkungen. Es ist der Klang der Nächte, die ineinander übergehen, der Momente, die einem durch die Finger gleiten, und der Echos, die sie hinterlassen.

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

Reconfiguring the notion of bridge building on a multitude of terms, it feels fitting that the tenth and final installment of Die Schachtel’s Decay Music series, Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, was co-created by an artist whose work featured in the first suite of LPs issued by Brian Eno’s Obscure Records in 1975, the groundwork toward which Decay Music’s own efforts nod. Since that auspicious debut, “New and Rediscovered Musical Instruments” — his split with Max Eastley — David Toop has been regarded as a pioneer in British experimental and improvised music: a sonic voyager who has continuously challenged the sources and materiality of sound through rigorously thoughtful performances, a vast catalog of recordings, and a steady flow of highly influential texts. Be it as a member of Alterations, his group breaking group with Peter Cusack, Terry Day, and Steve Beresford that ran between 1977 to 1986, or through is noteworthy work with artists like Rie Nakajima, Thurston Moore, Paul Burwell, Rhodri Davies, Lee Patterson, Ryuichi Sakamoto, Akio Suzuki, Elaine Mitchener, and numerous others, collaboration has always played a central role within Toop’s singular practice, but few can claim the sprawling sense of beauty and intimacy that’s achieved by “And I Entered Into Sleep”, his first recorded outing with Sergio Armaroli.

A composer, percussionist, vibraphonist, and multidisciplinary artist, Armaroli has been issuing radical and forward-thinking musical gestures for decades, working as one of Italy’s most noteworthy interpreters of composer’s like Giacinto Scelsi, John Cage, Franco Evangelisti, Giancarlo Schiaffini, and Walter Branchi, as both a solo performer and member of the highly regarded Rib Trio, as well as forging a singular practice as a composer, intertwining his efforts as a painter, concrete percussionist, fragmentary poet and sound artist, within a total art, rooted “within the language of jazz and improvisation” as an “extension of the concept of art”. Like Toop, Armaroli’s career has been populated by many collaborators, notably with Riccardo Sinigaglia, Alvin Curran, and Walter Prati, among others, setting the stage for a remarkable meeting between the pair.

Featuring Armaroli on vibraphone and prepared vibraphone and Toop on electronics, “And I Entered Into Sleep” is “a sonic journey, a Proustian suggestion à la Recherche, into the unconscious between electronic and acoustic sounds”. Using a bell that sounds at the beginning of Proust’s “À la Recherché du Temps Perdu”, which reappears more than 3,000 pages later — signaling a transition of phases, as well an auditory trigger of memory — as a departure point, as an association to the percussive vibraphone pulses that thread the album’s two sides, the pair weave a striking interior world of immersive psychological depth. Feeling almost subaquatic at times, like captured glimpses of rumbling, shadowy ecosystems lost within murky ambiences, before washing ashore in a series of pointillistic, highly detailed alien landscapes of the mind, each artist’s markedly different sound-sources, and treatment of the subsequent material elements, dance in abstract grace, incorporating subtle nods to minimalism, free jazz, and musique concrète within its seamless total form of sparse texture and tone.

Easily one of the most striking and memorable releases by either artist to appear in recent years, Sergio Armaroli and David Toop’s “And I Entered Into Sleep” traverses uncharted realms at the borders of literary reference, sound art, ambience and abstraction through delicately musical sounds, revealing new depths at every turn. Issued as the tenth and final album in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

★Japanese obi-strip
★First time reissued on vinyl

Turning Into Small, the second album by shoegaze band All Natural Lemon & Lime Flavors from New Jersey, originally released in 1998 on local label Gern Blandsten,
is now being reissued on both CD and vinyl.

Formed in the mid-90s, All Natural Lemon & Lime Flavors were deeply influenced by UK shoegaze and alternative rock—most notably My Bloody Valentine—while
pursuing a uniquely experimental sound within the US emo and indie scenes. Their innovative spirit reached full bloom on Turning Into Small, which remains their
final album to date.

One of the standout tracks is the nearly eight-minute-long “Your Imagination,” a spacious sonic landscape that draws listeners into deep immersion.
It has become a signature song for the band, heralding a new wave of shoegaze that emerged in the late '90s and beyond. Even more noteworthy, however, are
tracks like “Puzzled Into Pieces” and “In Between And After,” which showcase the band's layered, synth-driven electronic textures, dynamic collage-like structures,
and occasionally buoyant melodies. These elements come together to create a strange and otherworldly sense of weightlessness—something rarely found even
within the shoegaze genre.

While resonating with the likes of My Bloody Valentine, Stereolab, and The Flaming Lips, the band's mutant-like blend of styles also draws parallels with acts like
Swirlies, Serena-Maneesh, and contemporary shoegaze innovators such as They Are Gutting a Body of Water.

This is a groundbreaking album in US shoegaze—one that still feels fresh and vital thanks to its timeless experimental spirit and originality. Now is the perfect time
to (re)discover it.

On their new album The Besnard Lakes are the Ghost Nation, Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.

Cloudy Gold Vinyl. This 10 Year Anniversary Edition features new, gatefold packaging with updated photos, lyrics and liner notes. Disc one incldues the originial album in full and the brand new second disc features rare b-side "Nail In Your Hand," a re-done version of "Heaviside" with artist Wisp performing vocals on the song, and seven never-before heard demo versions of songs from Citizen's second album. Ten years ago, Citizen released Everybody Is Going to Heaven _ a record that marked a bold turning point in their career. Following the breakout success of Youth, the band could have stayed the course. Instead, they doubled down on darker textures, heavier moods, and a fearless sense of experimentation. Released in 2015, Everybody Is Going to Heaven expanded Citizen's sound beyond their emo and post-hardcore roots, weaving in elements of grunge, and alternative rock. Tracks like "Cement" and "Stain" captured a raw, unsettled energy that explored mortality, depression, and identity with an honesty that still resonates today. It wasn't a record built for easy listens _ it was built to last. Now, a decade later, Everybody Is Going to Heaven stands as a defining moment in Citizen's evolution _ a record that challenged both the band and their audience, and helped shape the fearless, genre-blurring artists they've become. As they celebrate its 10th anniversary, Citizen remains a band deeply committed to growth, refusing to be tied to a single sound or era. Everybody Is Going to Heaven didn't just mark where they were; it lit the way for everything that came next.

LIMITED ITALIAN IMPORT. 500 ONLY.

Introducing "BLACK WAVES", a cinematic soul journey rooted in social justice, love, and introspection.

From the vibrant streets of Rome, Luca Sapio crafts an evocative musical landscape that echoes the soulful activism of Marvin Gaye’s "What’s Going On", Curtis Mayfield’s "There’s No Place Like America Today", and Eugene Mac Daniels’ "Headless Heroes of the Apocalypse".

Infused with the timeless sounds of Italian vintage soundtracks—Piero Piccioni, Ennio Morricone, and their cinematic grandeur—this album is a powerful blend of social awareness and heartfelt emotion.

Among the guests legitimising the sound of the album are the legendary Dennis Coffey (Original Motown Funk Brother) Rob Harris (Jamiroquai) and the veteran Boston rapper Ed O.G. along with the same strings used by Ennio Morricone.

Record mastered by grammy winner Mike Bozzi

Hailing from Roma, Italy, Luca Sapio is a celebrated singer-songwriter and record producer, known for his soulful contributions to the music industry.

With a career spanning over a decade, in 2012, Luca released his debut solo album, "Who Knows", which achieved notable success on the German and French charts and was recognized as the best independent record by SIAE, Italy's copyright collecting agency.

In 2014, he solidified his partnership with producer Thomas Brenneck and released his sophomore album, "Everyday Is Gonna Be The Day” once more backed with members of the Dap-Kings and the Budos Band.

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.

A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.

Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC Horseman, who lends his voice to the album’s first single ‘Night Night’.

The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.

It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.

After bending boundaries on the acclaimed labels Optimo Music and Höga Nord, Rudolf Abramov resurfaces with a fierce new statement – inaugurating Aquasonic Records, the freshly minted label founded by one half of the duo.

They unveil a sweeping collection of rare recordings, drawn from the shadows of their enigmatic Berlin studio.

This debut full-length album unfolds like a sonic tapestry, threading krautrock, new wave, dub, psychedelia, experimental electronics, ambient, and jazz into a singular, genre-bending experience.

True to form, the duo assembles a diverse ensemble of guest collaborators, fusing layered musical worlds into a cohesive, concept-driven whole.

At its core, the album captures a dynamic interplay: acoustic instruments recorded with raw intimacy and spatial breath meet the hypnotic churn of modular synths, samplers, and analog machines. A vivid document of process, presence, and unfiltered sound, resisting definition, yet wholly their own.

A hill repeating its own name.

Ben Beinn — mountain mountain — an imagined summit, recursive and unstable.

Poole’s new album Ben Beinn follows 2024’s In a River Shadow, and deepens his exploration of environment, voice, and abstraction. If the previous record moved with flowing water and submerged hymns, Ben Beinn climbs into elemental instability: passing storms, coded skies, and sodden ground.

Across ten tracks, Poole entangles the Celtic New Age sound world — traditional instrumentation (flute, low whistle, bagpipe, piano, strings) — with synthesis, environmental recordings, and abstracted voice. The sound palette is tactile — marked by microtonal harmony, swelling dissonance, and a breathy naïvety. Voices in Gaelic, Norwegian, and English surface and dissolve, stretched beyond recognition — more weather than word.

The album’s title refers to a tautological hill — Ben Beinn, or “mountain mountain” — a recursive site where motifs surface, fracture, and re-emerge. On 365 Days of Rain, rainfall data becomes a rhythmic lattice that slips from metrical order. 1000 opens the record in cinematic emergence: mountain icicles and frozen streams swell into strings and breathy melodic weight. Pulling from the connective folktales of hill and mountain trolls — “Dance for a thousand years,” Poole writes, “for jeg har sovet tidlig så lenge.”

Recorded in Scotland between 2024–2025, Ben Beinn draws from environmental recordings of frozen hill passes, storm drains, and peat bogs using contact mics and hydrophones. Rather than simply reflecting place, these recordings press against it — layering the sonic materiality of landscape with synthesis and song. An inflection point between fabrication — folk music as performed identity, a carrier of story — and its obfuscation through digital networks, where tradition is refracted into plural forms.

Musical reference points include the emotionally saturated textures of Inoyama Land, the folk-electronic hybrids of Eli Storbekken, the hyperrealist collage practices of Noah Creshevsky, and the disquieting sonic simulations of James Ferraro. While Ferraro captures the uncanny surfaces of networked life, Ben Beinn turns inward — toward a located listening, shaped by weather, memory, and terrain.

The second in a triptych that began with In a River Shadow, Ben Beinn continues Poole’s excavation of environmental and folk material through contemporary methods. If the first record submerged itself in flowing water and submerged hymns, this one is shaped by the slow pressures of land and sky — a music of erosion, recurrence, and elemental presence.

PaulWetz’ Debut-Album »Alle meine Freunde Sind Träumer« inkl. der Singles »Ode an den Bass«, »Tango« und »Tanz in meiner Wohnung« auf durchsichtigem Vinyl im Gatefold inkl. Lyric-Booklet und Poster (A2, gefaltet).

»What about Love« is MONKyMAN's personal journey through solitude, love and connection: An honest, heart-driven record exploring spirit, romance and community in a chaotic world.

Written over the course of three years and recorded live on analog gear only with no loops or plugins, the album blends warmth, vulnerability, and a message of hope. Produced with Drew Deal at Sundown Studios with guests from all over the planet, it invites you into a space of reflection, belonging and joy.

Genre-defying and soul-centered, the album unites meditative moments and heavy grooves, moving from the question »What about love?« to the simple realization: »I feel better in love.«
Downloads

The Life You Save" ist das dritte Album von Flock of Dimes, dem Soloprojekt der Multi-Instrumentalistin und Produzentin Jenn Wasner. In den letzten Jahrzehnten sei es als Flock of Dimes, als eine Hälfte des beliebten Duos Wye Oak oder durch eine ihrer zahlreichen Kollaborationen mit Bon Iver, Sylvan Esso und einer langen Liste weiterer musikalischer Größen hat Jenn Wasner in ihrem umfangreichen Repertoire ihr Talent bewiesen, Authentizität und Direktheit mit einer unverkennbaren, unkonventionellen Sensibilität in Einklang zu bringen. Ihre Songtexte zeugen von ihrer scharfen Beobachtungsgabe, ihrer tiefen Empathie und ihrer nachdenklichen Art, Geschichten zu erzählen. Mit ihrem Talent, Erinnerungen, Herzschmerz und unheilbare Traumata zu ergründen, und einem Schleier aus Synkopierung oder schrägen Gitarrenklängen, die einen Song an einen Ort der stillen Großartigkeit entführen, ist ihr neues Album The Life You Save" ein weiterer Meilenstein in ihrer Karriere und geht noch einen Schritt weiter; einfach gesagt ist es das ehrlichste, intimste und persönlichste Album in Wasners Karriere. Die zwölf Songs sind ebenso herzzerreißend wie hoffnungsvoll und tauchen tief in die Abgründe von Sucht und Co-Abhängigkeit, vererbten und erlebten Traumata und den Prozess der Friedensfindung angesichts des Leidens anderer ein. The Life You Save" ist eindringlich, schonungslos offen wie eine Botschaft aus dem Auge eines Sturms. Doch obwohl es irgendwie sowohl viszeral roh als auch verletzlich wirkt, schwebt darüber ein Gefühl von stiller Ruhe, ein Schimmer von Rückblick oder vielleicht von Akzeptanz. Es ist die Geschichte davon, wie es sich anfühlt, zwischen zwei Welten gefangen zu sein der, aus der man kommt, und der, in die man geflohen ist; von dem Glauben, dass man irgendwie die Menschen, die man liebt, mit an diesen Ort nehmen kann; von der Trauer, zu erkennen, dass man nur sich selbst retten kann. The Life You Save" wurde von Jenn Wasner produziert und im Betty's in Chapel Hill, North Carolina, sowie im Montrose Recording in Los Angeles, Kalifornien, aufgenommen, mit zusätzlicher Produktion von Nick Sanborn. Das Album wurde von Adrian Olsen & Alli Rogers tontechnisch aufgezeichnet, von Adrian Olsen gemischt und von Huntley Miller gemastert.

a long-awaited reissue of an ultra-rare 7-inch single, originally released as a promo-only item from handsome boy, the 1990 masterpiece by inoue yosui—widely regarded as one of the greatest singer-songwriters in japanese music history.

“pi po pa,” arranged by haruomi hosono and used in a tv commercial at the time, was featured on heisei no oto, a compilation released by music from memory. the album’s standout track, “shonen jidai,” remains one of japan’s most iconic and beloved songs.
also included on this 7-inch is “yume migokochi,” a pinnacle of japanese balearic sound, arranged by yuji kawashima—keyboardist of ep-4, a kyoto-based band essential to the history of japanese new wave.

and exclusive to this release is “kurenai suberi,” an overlooked gem that might best be described as inoue’s take on cold-funk.

remastered from the original master tapes by kuniyuki takahashi, and housed in the ori-ginal artwork.

After its original release in 2010, Walter Trout's Common Ground is back on vinyl, for the first time as a 2LP. The critically acclaimed album by the American blues guitarist, singer and songwriter reached #6 on the Billboard Blues chart and made waves in the UK charts as well. The album showcases a collection of powerful, emotionally charged songs including, amongst other, the tracks "Maybe A Fool", "Common Ground", and "Her Other Man"._x000d__x000a_Common Ground is produced by legendary producer and Grammy Award-winner John Porter, who is known for his work with blues icons B.B. King and Buddy Guy. The record features top-tier musicians Kenny Aronoff, James "Hutch" Hutchinson and Jon Cleary, all adding depth and expertise to the dynamic arrangements._x000d__x000a_Common Ground is available as a 15th anniversary edition of 1000 individually numbered copies on green, white & black marbled vinyl and includes an insert with lyrics.

Das Break-up-Konzeptalbum, nach dem niemand gefragt hat, The Appleseed Cast erschien 2003 auf Tiger Style inmitten einer zweiten Welle der Emo-Gegenbewegung. Jahrzehnte später gilt Two Conversations weithin als das Meisterwerk des Quintetts aus Lawrence, Kansas, ein atmosphärisches, seelenvolles Werk, das sich von den Klischees des Mittleren Westens distanziert. Verlieren Sie sich in den verträumten Klängen von Keyboards und Synthesizern und den Klängen von Stahlsaiten, aber seien Sie vor der Ausgangssperre wieder zu Hause.

Das Break-up-Konzeptalbum, nach dem niemand gefragt hat, The Appleseed Cast erschien 2003 auf Tiger Style inmitten einer zweiten Welle der Emo-Gegenbewegung. Jahrzehnte später gilt Two Conversations weithin als das Meisterwerk des Quintetts aus Lawrence, Kansas, ein atmosphärisches, seelenvolles Werk, das sich von den Klischees des Mittleren Westens distanziert. Verlieren Sie sich in den verträumten Klängen von Keyboards und Synthesizern und den Klängen von Stahlsaiten, aber seien Sie vor der Ausgangssperre wieder zu Hause.

Legacy in Motion is the third studio album from Western Sydney hip-hop powerhouse The 046. Legacy in Motion is a 16-track statement of growth, resilience, and ambition that cements our status as leaders of Australia’s rap scene. Blending our signature “Aus Funk” sound with a GFunk and West Coast-inspired style built on heavy basslines, smooth synths, and street-level lyrics with fresh, evolved production. Legacy in Motion captures The 046 at their sharpest, from the anthemic opener “Forever G’s” to standouts like “Music Is Everything” and “Young Free & Reckless”, the album moves seamlessly between hard-hitting street energy, reflective storytelling, and tracks built for festival stages. Stacked with heavyweight collaborations, including Lisi, Barkaa, Nyxladd, JKING, D-Boy 223, and Say True God?.

Legacy in Motion expands The 046’s reach across Australia’s hip-hop landscape. The title track and deeper cuts like “Nothing’s Free” showcase their maturity, reflecting on hustle, loyalty, and carving out a lasting legacy while staying true to their Western Sydney roots. This album isn’t just another release it’s The 046 proving their movement is unstoppable.

Time to dust off the disco ball! Sylvester's timeless disco classic Step II, featuring the smash hits "You Make Me Feel (Mighty Real)" and "Dance (Disco Heat)" returns to vinyl almost fifty years after its original release on a very special "Disco Ball" Clear Glitter pressing. Described by Pitchfork as "a formative record in the queer canon," Step II took Sylvester's from a Bay Area icon, to a national disco superstar whose influence on popular music is as mighty today as it was back in 1978.

The instrumentation returns to Cough’s two drums, bass, guitar and sax lineup, but adds some fresh elements. Live multichannel dubbing, now a standard of their shows, has been integrated into the performances, as have electronic drum triggers and samples as well as the occasional bass clarinet passage.

In the years since their initial dissolution, each member has pursued their own creative paths, including drone rock, avant techno, ambient, sonic collage, visual art, video work and more. In coming back together, the breadth of their collective practices are all integrated into the music.

"Prudência / Praga", or "Prudence / Plague", is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in Sao Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelao canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it's a compact 45 of sambas but it's also very Rock n Roll to me. Raw and coming from hell. "Prudência" is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn't believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that "Prudência" was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano's part. "Praga" also has to do with MPB heroes of mine that I never imagined I'd see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa's album! Surreal. Like many people, I got acquainted with Alaíde listening to "Clube da Esquina," her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings "BIBIDA" in her recording of the song_a total legend. I wanted to produce a kind of horror samba recording, because if it wasn't rock and roll, it wouldn't be much fun for me. I went over to Bielzinho's, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian. This take of "Prudência" came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s' program "Ensaio" (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that's what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom_time travel. Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. "Prudence? Don't talk to me about prudence!" ;) Tim Bernardes, 2025

Zurück zu den Anfängen. Sharp Pins' Nummer-1-Hit und Wendepunkt in der Jugendrevolution-Propaganda. Ein klarer Aufruf an alle Mods, die noch zu jung waren, um sich in der Quadrophenia Alley die Knie aufzuschürfen: Robinsons Garten auf dem Weg der neuen Welle.

Forgotten Paradise is a new vinyl series from Western Lore, focussed on exploring the full breakbeat hardcore &
Jungle Tekno tempo range through a collection of 12” singles & EPs

After an under the radar, vinyl only bootleg 12” kicked off the series in 2024 (and flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail), L own, the producer behind the record returns to the series for the first of a two part long player showcasing the depths of his sound.

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos.

For Mal-One’s second dub album he pulled the dub versions of these tracks, as they seemed to work together as an album. New York City Punk (New York Dub), 45 Random Punk Memories (45 Random Dub), Machine Bubble Disco (Machine Bubble Dub), I Used To Play Bass In A Punk Rock Band (I used to play Dub), Never Seen A Bad Picture of Debbie Harry ( Never seen a Bad Dub), Punk Rock Fanzines (Punk Rock Fanzine Dub). JJ’s Alright (JJ is Dub) The Buzz-cocks Are Coming (The Buzz-cocks are Dub), Damned
Disciple (Damned Dub), The Satellite Kid (Satellite Dub), Punk Rock is Back! (Punk Rock is Dub) and The Revolution Is Coming ( Revolution Dub).

The cover of the album is a collage of various mementos culled together over a target painted canvas. The style and objects seemed to suit the cut up style of the tracks. To add another dub layer to the project he also took the lyrics to these tracks and cut and reworked them into a Punk Art Poem for the back side of the record sleeve. A dub reworking of words, music and image.

Hope you enjoy the indulgence.

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources.

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al.

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story.

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

The Complete Blue Note 45 Sessions of Ike Quebec collects a phenomenal body of work produced between 1959–62 by a key player in the Blue Note Story. The saxophonist had recorded for Blue Note and served as a talent scout in the 1940s before personal problems forced him off the scene. Alfred Lion began to reintroduce Quebec’s music to jazz fans in 1959 with a series of 45 jukebox singles that were well received and revealed a formidable stylist very much at the top of his game with a full-throated yet relaxed sound ideally suited to a range of material from ballads to blues. The success of Quebec’s comeback inspired Lion to keep going, capturing four sessions of material with a revolving cast of musicians that yielded classic tracks.









i C1. Everything Happens To Me Short Version







[q] D4. Everything Happens To Me [Long Version]









[i] C1. Everything Happens To Me [Short Version]







[q] D4. Everything Happens To Me [Long Version]









[i] C1. Everything Happens To Me [Short Version]







[q] D4. Everything Happens To Me [Long Version]

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

The Argentine-born producer, now based in Munich, presents his long-awaited
debut album Bleeps Don't Cry, born out of a period of emotional upheaval in the
artist's life, and marks an immersive sonic journey through bw's evolving inner
world.
The record blends hypnotic, dub-infused rhythms with haunting atmospheres and
introspective ambient explorations. With this release, bw presents a raw, strippeddown aesthetic and a deeply personal approach to modern electronic music.
Both the artist and his self-titled label, bw, exist as a refined underground entity
with a keen ear for quality and contemporary techno. His tracks are crafted with
minimal yet vital elements, each sound added like a crucial ingredient, emotionally
expressive and essential to the whole.

Es gab eine Zeit - nennen wir sie Saturn-Rückkehr, nennen wir sie die frühen 90er Jahre, nennen wir sie den letzten Atemzug, bevor das Internet alles verschlang - als wir von den Zero Boys uns plötzlich einer ganz anderen Art von Feuer gegenüberstanden. Wir waren aus unserer Hardcore-Haut herausgewachsen - nicht aus Ablehnung, sondern aus einer Weiterentwicklung heraus. Wir waren unruhig. Songs kamen nicht mehr in Ausbrüchen purer Geschwindigkeit; sie verdrehten sich, dehnten sich aus, stellten Fragen. Struktur war nicht mehr der Feind. Wir ließen die Songs atmen, und im Gegenzug erzählten sie uns Dinge, die wir nicht erwartet hatten. Die hier versammelten Songs aus ,Make It Stop" (1991) und ,The Heimlich Maneuver" (1992) fangen diesen Moment ein. Diese beiden Alben, die innerhalb eines Jahres entstanden sind, sind Dokumente einer Zeit, in der wir unserem Instinkt folgten - die Grenzen unseres eigenen Sounds ausloteten und persönliche spirituelle Erkundungen durch den Fuzz und die Wut hindurchflochten. Es war nicht religiös. Es war eine Suche. Der Versuch, das Selbst im Lärm der Welt zu finden. Der Versuch, ehrlich über Verwirrung, Widerstand und die Teile von uns selbst zu sprechen, die nicht so einfach in Slogans oder Genres passen. Damals wussten wir, dass wir uns veränderten, aber wir wussten nicht, in welche Richtung. Jetzt, Jahrzehnte später, offenbart das Zurückhören etwas Klareres. Diese Songs - textlich, musikalisch, emotional - fühlen sich heute dringlicher an als damals. Die politischen Aussagen sind gut gealtert, was sowohl ein Triumph als auch eine Tragödie ist. Was wir in einem Moment kreativer Verbrennung geschrieben haben, klingt jetzt wie Warnsignale - über Institutionen, über Gewalt, über das stille Bedürfnis nach Sinn unter all dem. Also ja, ,Playback is Hell". Aber nicht die Hölle der Qualen. Die Hölle des Feuers. Die Hölle der Transformation. Die Hitze der Erinnerung und Bedeutung, die plötzlich wieder aufsteigt. Danke fürs Zuhören - damals, heute und in Zukunft. - Paul Mahern, 2025

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by." Emily A. Sprague's Cloud Time will be released Friday, October 10th in vinyl, Japanese import CD (via Plancha), and digital editions.

When Brion Gysin died a tape was found in his possession which was posthumously released under his name entitled "The Pool". It took many years and a lot of letters to realize this was actually a composition by his friend Paul Bowles, as they often sent recordings back and forth to each other. Dumb EPs are the same in a way, like tapes or letters crossed through time. Not as they are confused, from a band not earnestly wearing influences on its sleeve. But as a future touchstone making music that is uniquely their own.