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Mesmerizing and exuberant Argentinian La Yegros, probably the most magnetic artist on the South American continent, is back with a new album!

The undisputed Queen of "Nu Cumbia" has not rested on her laurels. Surrounded by the same accomplices who have supported her for the last ten years, but eager to renew herself, she has set about recording her fourth album, which stands out from her discography. Although her personal folklore is still rooted in South American folklore, La Yegros is now absorbing contemporary, global music, while tackling intimate, often melancholy and even painful subjects, which she overcomes with the same resilience that drives her in concert. Nothing stands in the way of this Argentinian whirlwind, all the more fascinating for the fact that personal considerations are now surfacing beneath the veneer of the party atmosphere she sets alight.

La Yegros returned to the stage in 2022 to celebrate the 10th anniversary of Viene de Mí, her single hit from the self-titled album, released in 2012 in Argentina and then worldwide in 2013, which catapulted her to international fame. We then discovered a singer who had grown up in the traditions of her country. Her parents come from Misiones, a province bordering Brazil and Paraguay, where balls are filled with the sounds of chamamé (a mix of polka and Guaraní music), Carnavalito (Andean folklore) and Colombian Cumbia. But she herself is a native of Buenos Aires, whose nights are enlivened by the bass of Dancehall and electronic music.

These influences have merged in two further successful albums, Magnetismo (2016) and Suelta (2019), followed by high voltage tours during which La Yegros has been able to display her generous nature, inexhaustible energy, exuberant personality and infectious enthusiasm.

To record her new album entitled 'HAZ', La Yegros has put her faith in the same team that has worked with her since Viene de Mí. On one hand, producer Gaby Kerpel (also known as King Coya), a pioneer of synthetic experimentation applied to traditional music, who has remained her faithful accomplice for over twenty years. On the other hand, composer Daniel Martín, who knows how to come up with melodies to dream about and hymns to sing along to. Inseparable and complementary, the trio continues to concoct this mesmerizing mixture where acoustic instruments meet samples and the rolling of machines. But the new productions don't rely on a tried and tested formula. Generally co-produced between France and Argentina, they break away from over-defined genres. La Yegros knits together new rhythms and incorporates sounds that are unheard of in her country, derived from the latest urban trends, as well as echoes of reggae and funk. As for the lyrics, signed alternately by the trio, they are embodied by La Yegros whose charismatic voice questions a period of her life tossed by waves of love and lovelessness, joy and sorrow, euphoria and anguish, indulgence and resentment.

The album is open to a wealth of musical styles. You'll hear funk guitar and Andean flutes, melancholy accordion and rolling drums, Tuareg blues enhanced by brass, house and electro Cumbia loops, and the bassoons of a chamber orchestra. The folklore 2.0 of La Yegros, nourished by its colorful inspiration, at times tender or exalted, has been imagined as a hymn to love and the contradictory feelings that come with it. As always, it has also been conceived with the stage in mind. Hatching in a storm of overturned emotions, the album is all the more explosive for the strength of the live show that accompanies it. In addition to the usual line-up of guitar, accordion and percussion, a musician handles synthesizers and machines to boost the electronic turboshaft. In any case, you can count on the singer to assert her increasingly clear-cut character with each new project. And, above all, she won't give up. L.a Yegros is back and her batteries are fully charged.

Debut album from Italian trio of Gabriele Mitelli, Pasquale Mirra, and Cristiano Calcagnile, longstanding members of the Italian jazz community who over the past ten years have collaborated in various formations with the likes of Rob Mazurek, Jeff Parker, Alexander Hawkins, Damon Locks, Danilo Gallo, Chad Taylor and many others.

The Elephant was first formed in 2017 with one of their first performance at the Venice Biennale, within the French Pavilion as part of the opera set up by Xavier Veilhan. Since then the trio has continued to work together across different projects but never made enough time to record a full project.

This changed in 2023 and In The Room presents the trio's vision for jazz with an intimate collection of musical polaroids that reflect the expressiveness and potentiality of the music they love.

The album features vocals from Cristina Donà, Damon Locks, and Rob Mazurek.

An expanded 3-LP edition of Sonny Rollins’ essential and legendary live trio album A Night At The Village Vanguard: The Complete Masters is added to Blue Note’s acclaimed audiophile vinyl series in Q1, mastered for the very first time from the original tapes. (The first release and subsequent reissues were made from a tape transfer.) This deluxe tri-fold edition includes a plethora of great editorial, including a new interview with Rollins in conversation with Blue Note President Don Was.

“As we began to prepare for this album, I made my customary call to Capitol tape vault archivist Jack Arenas to inquire about the analog master tapes. Naturally, I assumed there would be a set of Rudy Van Gelder assembled 15ips analog masters of all the material. Indeed, there was, but then Jack said something that caught my ear. ‘Now there are these other tapes, but they haven’t been assembled, and they are all recorded at 7.5ips.’ I sat straight up and probably looked a bit like the mind-blown emoji. With this issue of Sonny Rollins ‘A Night At The Village Vanguard: The Complete Masters’ we are finally able to hear the actual masters that were recorded that afternoon and evening.” — Joe Harley

Every morning when Dent May wakes up, the first thing he says is, “What’s for breakfast?” For the Los Angeles-based songwriter and pop auteur, this question is part inside joke with his girlfriend, part sitcom-style catchphrase, and part mantra about getting up every day and persevering in the face of good or bad is happening around you in your life. It’s also the title of his sixth album, which is out on March 29, 2024 via Carpark Records. What’s For Breakfast? is May’s most immediate, nostalgic, and rollicking LP yet, one that’s concerned with breaking daily routines and rediscovering the joys of songwriting.

Over the past 17 years, May has been a consistently adventurous and prolific bedroom pop pioneer and connoisseur of impeccably crafted melodies. Though his songs are always well-written and comfortable, with What’s For Breakfast?, May has freed himself up to more playfully experiment with new and vintage musical inspirations. “I’ve occupied a lot of different lanes over the years,” says May. “I’ve always been drawn to making kaleidoscopic pop inspired by old soul, disco, country, whatever. This time around, I was tapping into music from my childhood, like The Strokes, Weezer and Elephant 6 Collective bands.” By revisiting the music of his youth—energetic and infectious guitar rock—he found a vibrant palate to explore for this new LP.

Lead single “One Call, That’s All” kickstarts with frenetic guitar-driven intensity. While the track slyly takes its name from the slogan of an ambulance-chasing Mississippi lawyer, May sings of unrequited love and phone-based ennui. “It’s a fast tempo pop-rock song that isn’t like anything I’ve done before,” says May. Elsewhere, opener “You Already Know” showcases May’s goofball lyrical charm with lines about playing chess online and looking like a Dawson’s Creek character. Beyond the jokes in the song, there is a bittersweet recognition of time passing and a call to action when May sings, “Now you already know what time it is / It’s time to live your life / Cuz it’s flying by / No matter the day, week, month or year / It’s time to do a lot / Ready or not.”

What’s For Breakfast? marks another first for Dent in being his most collaborative LP yet. Alongside guest appearances from Jimmy Whispers and co-writes with Paul Cherry, are two standout singles with Jordana and Pearl & The Oysters respectively. Jordana assists on the wistful “Coasting on Fumes,” which captures the feeling of being stuck in a rut while the yearning “Time Flies When You’re Having Fun” guests Pearl and the Oysters. “My first album came out almost 15 years ago, so bringing in others to help out is crucial to keep things interesting,” says May. “I’m constantly falling back in love with music through the eyes of others. This album is about remembering why I like music.”

"I Oughtta Give You a Shot in the Head for Making Me Live in This Dump is the debut studio album by American alternative rock band Shivaree. The album was originally released in 1999 and featured their big hit “Goodnight Moon”, which featured in the tv-series Dawson’s Creek and the films Kill Bill: Volume 2 and Silver Linings Playbook. The album spawned a second single, “Bossa Nova”. I Oughtta Give You a Shot in the Head for Making Me Live in This Dump celebrates its 25th anniversary and is therefore available on vinyl for the first time and includes an insert. "

I Oughtta Give You A Shot In The Head For Making Me Live In This Dump by Shivaree, released 29 March 2024, includes the following tracks: "Daring Lousy Guy", "Oh, No", "Goodnight Moon", "Pimp" and more.

This version of I Oughtta Give You A Shot In The Head For Making Me Live In This Dump comes as a 1xLP. This release comes with (a) Insert(s).

Everything flows. Arutani's third album is a very personal note on change and life. The stories we see and create, the balance of hope and melancholia that accompanies every step we take. Calm, light, modest and mindful as the artist himself, with a glimpse of light in every aspect. Minimal in character and rich in detail. Luise is once again oh so happy to give a home to this masterpiece.

Für LORNA SHORE war 2020 nichts weniger als eine Abrechnung - in einer Karriere, die auf Herausforderungen, Veränderungen und einer zielstrebigen Vision aufgebaut war. Für das Quintett aus New Jersey bedeutete 2020 die Pandemie und abgesagte Tourneen. Das darauffolgende Jahr stellte die Band vor eine große kreative Herausforderung in Form des Songs 'To the Hellfire' von ihrer vielbeachteten '...And I Return to Nothingness'-EP. Und doch haben sie mit 'Pain Remains' ihr klangliches Niveau gesteigert, ein Album, das nicht nur alles zusammenfügt, was LORNA SHORE angedeutet haben, sondern es auch übertrifft - brutal und großartig. 'Es fühlt sich an wie eine Wiedergeburt von allem für uns - von der Energie, der Band, der Moral', sagt Schlagzeuger Austin Archey. 'Pain Remains' ist der Sound einer Band, die ihren Klang und ihre Identität verfeinert hat. Von den eröffnenden Chorgesängen und der Orchestrierung (komponiert von Gitarrist Andrew O'Connor) von 'Welcome Back, O' Sleeping Dreamer' direkt in das Labyrinth aus musikalischen Wendungen, technischen Details und rohen Emotionen im Kern von Tracks wie 'Sun Eater' oder 'Soulless Existence' und gipfelnd in der 'Pain Remains'-Trilogie, haben LORNA SHORE ein ausuferndes Dokument aus Ehrgeiz, Seele und Können gewoben, das nur Wenige erreichen können. Es ist auch der Sound von LORNA SHORE, der aus jeder Art von Kategorisierung ausbricht und sich selbst als eine großartige Extrem-Metal-Band etabliert. Mit 'Pain Remains' sind LORNA SHORE wirklich angekommen. 'Das war schon seit Jahren die Idee und die Vision für die Band', sagt Adam. 'Wir wollten uns nie einschränken lassen oder die Erwartungen von irgendjemandem erfüllen, was wir zu sein haben.

Im letzten Jahrzehnt hat die New Yorker Komponistin und Produzentin Kelly Moran ihren Status als bahnbrechende Figur der modernen Musik gefestigt, indem sie die traditionell-klassische Denkrichtung des Klaviers mit einem zeitgenössisch-experimentellen Ansatz herausforderte. Es folgten Kollaborationen mit ähnlich visionären Künstler*innen wie Oneohtrix Point Never, FKA Twigs, Margaret Leng Tan, Kelsey Lu und Yves Tumor. Morans experimentelle Klavierkompositionen, die hypnotisierende Texturen und dramatische Spannungsbögen zaubern, werden regelmäßig in die Klassik-, Avantgarde- und Metal-Jahresbestenlisten aufgenommen, so wie die jüngsten Meisterwerke "Bloodroot" (2017) und "Ultraviolet" (2018), auf denen sie erweiterte Klaviertechniken erforscht, u.a. das von John Cage inspirierte, präparierte Klavier. Kellys neues Album "Moves In The Field" ist eine Reihe von Duetten für sich und das Yamaha Disklavier, einer technologisch fortschrittlichen Version des Pianos. Die eingesetzten Disklaviere sind in der Lage, durch intensive Feinabstimmung und programmierbare Dynamik das menschliche Spiel perfekt nachzubilden und dienen als Kontrast zu Morans Streben nach einem Gleichgewicht zwischen technischer Perfektion und emotionalem Ausdruck in ihren Auftritten und Kompositionen.

Nach einem eindrucksvollen Jahr 2023 für Texas, in dem das karriereübergreifende 'The Very Best Of 1989 - 2023' erschien und das Comeback auf der Mainstage vom Glastonbury Festival gefeiert wurde, schlägt die schottische Band nun ruhigere Töne an. Zusammen mit dem legendären Pianisten, Songwriter und Rock and Roll Hall of Fame Mitglied Spooner Oldham wurden im Sommer 2022 renommierten Fame Recording Studio 'The Muscle Shoals Session' aufgenommen.

Das Album enthält zwölf der größten Hits von Texas und zwei Cover ('Would I Lie To You' von Charles and Eddie und 'Save The Last Dance' von The Drifters) - neu interpretiert und auf das Wesentliche reduziert. Geleitet von der gefühlvollen Stimme von Sharleen Spiteri und begleitet von den zarten Klavierlinien von Spooner Oldham, glänzen die Songs und beweisen ihren Wert als eigenständige, zeitlose Klassiker.

Halle Weissensee (or Weißensee if you wish) starts where Sascha Funke’s last Ep for Running Back stopped. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind.
The Halle was a former engine plant in Berlin that got converted into a rave areal for the now legendary Mayday raves and one of the birthplaces and leading spots of the nineties. Coincidentally and unknowingly, 1993’s winter edition was attended by Funke and Gerd Janson and a conversation about it spawned this record. Don’t be mislead: this is not a retro rave fest, but an ode to the esprit of the times, the possibilities if an envisioned future and maybe most of all an afterglow. While Reality (sounding like a Relief record if the label would have been a topic at Bauhaus university) and the warped bleepiness of Halle Weissensee itself come closest to the actual sound aesthetic of that very night, Fantasy invokes the language of contemplative deep house from vintage New York, while Puzzle evokes a notion of what the same thing could be with the prefix progressive instead. Reality often falls short behind fantasy, but once in a while both complement each other very well.

This is tenor saxophonist Hank Mobley’s first release on the Prestige label, after one previous Blue Note release. Here he is joined by Donald Byrd (trumpet), Barry Harris (piano), Doug Watkins (bass) and

Art Taylor (drum) with a guest appearance from Jackie McLean (alto saxophone) on one track. As one might expected, the program is quite « be boppy »,

with the band running through bop standards like Bud Powell « Bouncing with Bud », Monk’s « 52nd Street » and Parker’s « Au Privave ». Mobley’s supremely confident solos are

highlights of these tracks and he swings through the rather plain arrangements of « Bouncing with Bud » and « Au Privave » , with exceptional phrasing and melodic finesse, through Byrd’s and Harris’s solos as satisfying as well.

Feels as if we're stepping outside the known universe of Nigga Fox but simultaneously being invited in. It's not about being hermetic, shutting out followers of his trademark dance beats or making an experimental statement per se. All this music comes effortlessly during sessions such as any other, so don't throw away valuable time searching for a concept.

"Chá Preto" sounds revolutionary but not so much in his discography, accustomed as we are to game-changing compositional solutions in the afro musical continuum but - never forget - also in Dance Music taken as a broad genre. But is it Dance? Certainly a fair amount of suffering and introspection comes clear throughout the album, namely in the sequence made up of "Má Rotina" and "Mutadoree Leonor". "Mutadoree" is a free, alternative spelling of "much pain" and each listener can process the info as s(h)e pleases. The music is also strikingly beautiful, so there's really no final word on this.

Beats come sparse, a very personal phraseology, the dancefloor a memory. Or just something to keep in mind for a future night out. Presently there's no lack of adventure or excitement in these grooves, a uniquely themed one-person show of musical skills and bare emotion. It ends in a snap, not a trace of embellishment. Pragmatic and out of the loop. Rewind and feel it all over again. Any comparison in mind? Flip through History books and you won't find this chapter.

Die kultige schwedische Hardrock-Band enthüllt erneut ihr musikalisches Können auf ihrem mit Spannung erwarteten 11. Album "Wheel of Illusion". Mit einer langen Geschichte, die bis in die frühen 90er Jahre zurückreicht, hat THE QUILL immer wieder Grenzen überschritten, indem die Band kraftvolle Riffs und gefühlvolle Melodien vermischt hat.

"Wheel of Illusion" verspricht eine klangliche Reise zu werden, die die Entwicklung der Band zeigt und gleichzeitig ihren Hardrock-Wurzeln treu bleibt. Von den donnernden Schlagzeugbeats bis hin zu den brennenden Gitarrensoli ist jeder Track ein Beweis für The Quill's beständiges Engagement, einen rohen und authentischen Sound zu liefern.

Das Album beschäftigt sich mit Themen wie Selbstreflexion, Widerstandsfähigkeit und mit der rätselhaften Natur der Realität. Mit Texten, die nachhallen und Musik, die fesselt, ist "Wheel of Illusion" auf dem besten Weg ein wichtiges Kapitel im musikalischen Vermächtnis von The Quill zu werden.

Während die Band ihre Nische in der internationalen Rockszene weiter ausbaut, bestätigt dieses Album den Status von The Quill als Pioniere der schwedischen Hardrockbewegung. "Wheel of Illusion" ist nicht einfach nur ein Album, sondern ein Beweis für die ungebrochene Leidenschaft von The Quill, Musik zu machen, die die Zeit überdauert und Fans auf der ganzen Welt anspricht.

Moustache records 050 ! TAFKAMP and David Vunk present: Frequent Flyers - Skypriority EP Jacking Chi-house electro acid techno project ouwe stijl. 3 fistpumping peaktime jams for the dancefloor. Recorded produced and mixed by 2 underground club djs from Rotterdam in the bunker downtown Rotterdam city center. A1 The Jacker. Jack Jack Jack Jack the house. A hard rocking banger for the floor and a tribute to the Chi-town. Expect a massive bassline and crazy rhythm section. B1 Acid Party. A jacking acidtechno oldskool-ish track with tb303 acid funk and some track muting fader action for the freaks. Hands in the air guaranteed. B2 Interzone. Raw Acid Electro, early rave steps. No fillers only killers. Skypriority red coloured 180 gram Vinyl. Don't sleep on this very limited pressing. A true collectors item for the KLM fans and fetishists.

Ach, komm, ein Mensch kann nicht immer gut sein... This sentiment rings amusingly true for us. How did we find ourselves in this post-truth era, and why does such a term actually exist? In a world where distinctions between right and wrong blur, does the clarity of a black-and-white delineation persist? Are we progressing, or are we regressing to a state reminiscent of the past?

Weaving together the complex tapestry of gore, politics, emotions, and, of course, the human experience in this work is done intricately and reflectively by the hands of Christoph de Babalon.

DJ Beeno takes his first solo outing on 2DR and as he always does, he knocks it out the park. DJ Beeno is the master of taking obscure or different vocals, that most people look past, and turning them into banging tracks. That is exactly what he done with In The Name Of Love and Bright Lights on the A side.
Then for the flip, he took a slightly different approach. For Wishing On A Star, he took a well known vocal and added something different and give it the Beeno spin. Rounding out the record is an amazing remix of a Nefti track, Raw Power. DJ Beeno takes the original version and turns it on its head with a more underground sound, that he is synonymous with.
The original version appears on the Strictly NuSKool Volume 1 album, a free download available from Strictly NuSKool Blog and are so grateful to the SNSB team for working with us on making this remix official.

This EP was one of the fastest selling records we have released in the last few years and more importantly it marked the triumphant return of Messiah to the rave scene! All three remixes are just sublime but don’t take my word for it, listen to the sound clips. All of the artists involved brought their A-game and then some for this, quite frankly, gorgeous slice of wax.

DJ Support: Claptone, Sasha, Gina Breeze, Tom Findlay (Groove Armada), DJ EZ, Horse Meat Disco, Richard, Gear, Gina Breeze, Mirco Violi, Moody Boyz, DJ Caspa, Ruff Stuff, Dom Rimini, Don Diablo

Bristol born ARLO begins a special series of releases with Food Music. Party Response does exactly what it says on the tin - Hi NRG Dance music across the board - including a collab with Shadow Child (set to be released on vinyl only), and a huge remix from J.O.S.H.U.A too. Expect more in the Party Response series, and enjoy vol 1!

Die zweifache Grammy-Gewinnerin und mehrfach mit Platin ausgezeichnete Ariana Grande veröffentlicht ihr siebtes Studio-Album ”eternal sunshine”, welches das erste musikalische Werk der Künstlerin seit drei Jahren markiert. Ihre letzten fünf Studio-Alben platzierte die talentierte Künstlerin in den Top 10 der deutsche Charts. Die vorab veröffentlichte Leadsingle ”yes, and?” debütierte auf Platz 1 der Spotify Global Charts und verzeichnete damit ihr bisher größtes Spotify-Streaming-Debüt. Das Musikvideo zu ”yes, and?” erreichte Platz 1 der YouTube Music Trend-Charts

Kaleida are the transatlantic duo whose darkly mystic soundworld finds glimmers of hope in the disquiet. Span- ning an ocean, the pair have nurtured a long-distance partnership that withstands the shifting patterns of life. They first formed in 2013 when a friend introduced them over email. Christina Wood was working in the Indone- sian forest while recording demos in her bedroom each night, and Cicely Goulder had been composing for film productions in London. Despite the miles between them, they found an instant musical chemistry.
Kaleida first came to international renown in 2014, when their single “Think” went viral overnight and was featured in the soundtrack for the cult Keanu Reeves film, John Wick. Their debut album Tear The Roots arrived in 2017 and crystallised the pair’s moody pop aesthetic, which merges Wood’s sylph-like, operatic vocals with Goulder’s neo-Noir electronica. The record earned the duo their sec- ond spot in a film soundtrack, this time for Atomic Blonde with a tender take on Nena’s 1980s anti-war classic “99 Luftballons”. It was followed in 2020 by the pair’s second album Odyssey dubbed “a consummate work of electronic artistry.” Their new album In Arms is a record that leans into a near transcendent spiritualism, where their minimalist production conceals a raw, celestial power. With a departure from their previously insular way of working, they invited other musicians into the production process, most notably producer Johan Hugo (Self Esteem, M.I.A, Skepta).

An R&B band formed in Milwaukee, Wisconsin, USA, in 1961. The members were lead vocalist and guitarist Harvey Scales (b. 1941, Arkansas, USA), Monny Smith, Bill Purtie, Rudy Jacobs, Al Vance, Bill Stonewall and Ray Armstead. Superstar James Brown was sweeping the charts in the late 60s with his new kind of hard soul called ‘funk’, and under his influence, Harvey Scales And The Seven Sounds, like numerous other groups at that time, made their presence felt recording new funk sounds. The group’s one hit, ‘Get Down’ (number 32 R&B, 1967), was recorded on Lenny LeCour’s Magic Touch label. The b-side, ‘Love-itis’, was later recorded by the rock group J. Geils Band. After signing with Chess Records, Scales and his group had a regional hit with the LeCour-produced ‘The Yolk’ in 1969. Later, under the aegis of Detroit producer Don Davis, the group recorded for Stax Records with little success. In 1976, for southern soul hit-maker Johnnie Taylor, Scales co-wrote the massive hit ‘Disco Lady’. That success secured Scales a recording contract with Casablanca, with whom the artist released two albums. Scales was still recording in the early 90s.

2024 Repress

Another episode of the notorious 'You Can Trust A Man With A Moustache Series. Containing 4 crazy electro house energizing nu-italo top hits! A1 The mysterious super hit wanted and sought after by many DJs, played at numerous clubs and festivals by Moustache records label boss David Vunk, the mega anthem by the super collective ; Tending tropic - Hondebrok!!! A2 Cafius the super talented electronic music producer hailing from Ukraine is part of Moustache family now. He Delivered a massive club banger for the dancefloor: Cafius - Tonight is the night. Already played by DJs around the glove! B1 Im Kellar the infamous project by 30 years friends David Spanish and David Vunk ebm electro, dark and pure from the analogue cellars of downtown Rotterdam city, Im Kellar known for their super rare always sold out 12inches. Im Kellar - Not to be compromised dont miss this killer track with that strange melodie ;) B2 Moustache is super pleased to have the boss of Barca on board. Italo moderni label ceo Adrian Marth with his electro house hi energy track: Icon of the night! Expect deep basslines and peaking party drops. You can trust a man with a Moustache Vol. 5 comes in a super great designed 12inch sleeve full colour Artwork. Dont sleep on this ultra rare vinyl super limited only 500 copies no repress! Don't play this record underwater!

John’s debut album was recorded at Tony Pyke’s home studio in Dryburgh Road, Putney in glorious mono and then mastered at Pye Studios, Marble Arch, London for the princely sum of £158. Recording and mastering was completed by 9 August and London Conversation was released when John was just nineteen in October 1967. Theo Johnson took the role of producer under the supervision of Chris Blackwell and the cover photograph of John perched amongst chimney pots was taken on the roof of Blackwell’s apartment. Talking to Music Week magazine in 2007 John recalled that he recorded the whole album in one afternoon in a two-track studio on Putney High Street.

The album is in the folk tradition and contains some excellent lyrics and jazzy instrumentation including the sitar and flute in Rolling Home. As a result it won praise and the instrumentation distinguished John from his contemporaries in the folk scene. Back To Stay is a beautiful love song with a sad and dreamy melody, a sign of things to come.

John took up guitar whilst at school and although he was only nineteen he was already acknowledged locally as an accomplished guitarist. He was influenced by two people in particular, amongst others, that he knew. “Les Brown, who is completely unknown and has never recorded…he plays a kind of American Doc Watson guitar very very well. Lovely voice. Also a friend of mine called Paul Wheeler who is featured on the second album.”

For Fans of Robyn, Tirzah, Charli XCX, Mica Levi, Jessy Lanza, Maurice Fulton. "Don't come closer, because I might hurt you boy / You don't deserve it, I treat you like a toy." So sings 28-year-old South East London musician Tatyana on "It's Over", the sad and squelchy electro-leaning title track to her second album. Primarily written and produced over the summer of `23, It's Over follows the loose trajectory of a not-quite-relationship from the year before. But, more than that, it's an album about modern dating, alienation and the confines of existing online. If you've heard Tatyana's name before, it's probably because she released a debut album back in 2022, Treat Me Right, co-produced with Metronomy's Joe Mount, a record she describes as more of a collaboration. For It's Over, Tatyana took control of every aspect of the album's creation, from the production (she co-produced it alongside Mikko Gordon) to the artwork and the technology she used throughout. "This record made me technically proficient because I really pushed myself," says Tatyana. "I figured out a lot of things that I didn't know before. In the past, I allowed others to lead the charge and I'm not doing that any more." Born in London, before moving to Russia, Holland and Singapore in her teens, before eventually studying music at Berklee College in the USA - which she attained on full scholarship - and then back to London, Tatyana imbues her music with both haywire technical proficiency and encyclopaedic, far-flung tastes. Mostly, though, her sound originates from a pure love of the dancefloor: Robyn, Tirzah, Mica Levi, Jessy Lanza, The Knife. You can hear these dance-pop influences everywhere, from the colourful synth shapes of "Control (ft. Dave Okumu)" to the crackling analogue hiss of "Nothing is True, Everything is Possible". Lean in a little closer, too, and you might catch the shimmer of a harp on every song (she's played harp since she was a little girl, and toured extensively as a professional session harpist). "I write about love, I write about romance, these are the things that interest me," says Tatyana. "That's what this record is. It's about this relationship that broke my brain and I had to write about it."

Plizzken are back in a big way with their eagerly anticipated second LP, Do You Really Wanna Know? These German punks' debut LP was the first full length where lead singer Sebi sang entirely in English. Since that album's release to great acclaim from the international street punk commu- nity, Sebi suffered the setback of a debilitating workplace accident, but triumphantly rose above all expecta- tions for recovery, making a hard-hit- ting new record with his long-running band Stomper 98 to boot! Returning their focus to Plizzken, Sebi and the crew are locked in and razor tight, crafting 13 brand new tracks of anthemic working class street punk that will thrill their fans while taking them by surprise. What will strike listeners immediately is a renewed focus on melody and hooks. In short, these songs are CATCHY! By the time the handclaps come in on the fourth song, "Memory Lane," you may just find yourself dancing around the room to these tunes. Likewise for the post-punk/new wave influenced groove that drives tracks like "I Don't Wanna. "Without sacrificing the realism and grit with which they face the world and sound the alarms for the working class to rise up, Plizzken sound renewed, positive, and keen to encourage everyone ready "TO FIGHT THE GOOD FIGHT," as the gang vocals on "Mad World" put it. Although they are all punk rock veterans with decades playing music, Do You Really Wanna Know? has the energy of a hungry young band who are not about to waste a new lease on life. Combining street level punk rock 'n roll with a genuine pop sensibility and a rabble-rousing spirit, executed with the chops of seasoned players, Do You Really Wanna Know? is truly a record that will have old fans dancing and singing along with fists in the air, hand in hand with what is certain to be an army of new ones.

All My Friends by Aoife O'donovan, released 22 March 2024, includes the following tracks: "War Measure", "The Right Time", "America, Come", "The Lonesome Death of Hattie Carroll" and more.

All My Friends by Aoife O'donovan, released 22 March 2024, includes the following tracks: "War Measure", "The Right Time", "America, Come", "The Lonesome Death of Hattie Carroll" and more.

Buffalo & Detroit are America’s broken dream. They are once thriving cities, now known for frigid temperatures and violent crime. The cities were birthed in a different era, forged in fire, built of cold steel. It follows that the rawest Hiphop in recent memory has bled from these two regions. No two artists exemplify this hard truth more than legendary Detroit producer Apollo Brown and Buffalo’s maverick emcee Che’ Noir. The two artists came together to create a sound as natural as calm after the storm. The soulful, head-nodding production of Apollo Brown has been a staple called on by some of the greatest to ever do it. From Ghostface Killah to Danny Brown, and from Freddie Gibbs to Chance the Rapper, Apollo Brown’s signature style has become an iconic staple of the culture. Meanwhile, Che’ Noir has stepped onto the scene as smoothly as any double dutch veteran. Having already worked alongside Benny The Butcher, Kool G Rap, and Fred The Godson, she has emerged as one of the most extraordinary New York talents heard in years. The pair’s new album, “As God Intended”, drifts up and down city streets and offers a glimpse behind closed doors, telling the stories of gunshots, missing fathers, & playing the system. The album from Apollo Brown & Che’ Noir features Skyzoo, Blakk Soul, Planet Asia, Ty Farris, and Black Thought. Part of the Mello Music Group 24 for '24 Artist Series featuring limited edition vinyl art by oil painter KipDaFog.

As God Intended by Apollo Brown & Che' Noir, released 22 March 2024, includes the following tracks: "Hustle Don't Give (feat. Black Thought)", "Hours", "Daddy's Girl", "The Apple (feat. Planet Asia)" and more.

This version of As God Intended comes as a 1xLP.

The vinyl is pressed as a brown disc.

In 2013, between Hypnoflip Invasion and Stup Virus, Julien Barthélémy aka Stupeflip composed the soundtrack for Parenthèse, the first feature film directed by Bernard Tanguy. Julien and Bernard had recently met at a photo exhibition by Nathalie Sauvegrain, whose film Océane Bernard produced. Bernard, who has just been nominated for a César and shortlisted for an Oscar for a short film, is developing his first feature-length film as a director: Parenthèse, a buddy film about the feeling of growing old, an in camera film on a sailing boat in the Mediterranean, set against the magnificent backdrop of the Port-Cros and Porquerolles National Park (Var). A Stupeflip fan, Bernard considered Julien to compose the music, in his Pop Hip version rather than King Ju, convinced that his 80's style would fit perfectly with the nostalgic vision of the heroes of the story and that Stupeflip was also capable of bridging the gap between generations. Julien composed 11 tracks for the occasion, 8 of which found their way into the final version of the film. The title track, "Parenthèse", features arrangements by Anne Gravoin's string orchestra, giving it a depth and density never before seen in Stupeflip's discography. For the 10th anniversary of the filming, the soundtrack, which was only available on the DVD released in 2017, is being offered for the first time in a remastered version (Marie Pieprzownik, Translab), including 3 previously unreleased tracks not included in the original cut.

Available for the first time on vinyl in a remastered version + 3 previously unreleased tracks

For Forever folds time and space. While the sounds and stories will be recognizable to fans, they arrive with considerable bruises incurred on the journey from Set Free until now.

For those unfamiliar with The American Analog Set, this should be a simultaneously dark and vibrant introduction. Troubled lyrics permeate throughout, and the accompanying sounds are occasionally damaged and snarling. Not all things languid and dreamlike from past records have been abandoned or forgotten, but the dreams represented here are darker.

While the previous eras of the band are referenced, they are carried forward and incorporated without a hint of patronizing nostalgia. For Forever is a document of a group that acknowledges their past while they advance into new territories and evolve.

This release is entirely new material and is not connected to the forthcoming Numero reissues of the band's first three records.

Soulsavers veröffentlichen zum 20-jährigen Jubiläum ihres Debütalbums 'Tough Guys Don’t Dance' aus dem Jahr 2003 ein Rework des Albums mit dem Titel '20'. Remixed, remastered und mit neuem Artwork wird '20' mit einer sehr limitierten Auflage auf rotem Vinyl neu aufgelegt. Musikalisch zeigt das Album die Liebe des Duos zu Harmonia und NEU!, ist aber auch stark von den Film-Soundtracks von Ennio Morricone beeinflusst - Ein Einfluss, der sich über die nächsten zwei Jahrzehnte und drei Top20 Alben in Deutschland (u.a. zwei mit Depeche Mode Sänger Dave Gahan) noch stärker ausprägen sollte.