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Ever-evolving the mythologies and magic of Dialect's sonic sphere, Andrew PM Hunt returns with Atlas of Green, elegantly molding unexacting details of memory and mistranslation into the framework of the British musician and composer's creative pursuit. The album imagines a young musician named Green working in a future dawning era where lost signals and enduring impulses are unearthed from the sediments of technology and time. Across twelve compositions, Green becomes the compass in an epoch of transition; one shaded with pastoral patinas and studded with the fragments of allegorical ruin. As tattered as it is tender, Atlas of Green is a patchwork of scavenged relics and bygone hues, cast through the iridescent shimmers of a mid-future in flux. Growing up on the Wirral Peninsula in North West England, Hunt was surrounded by stone age landmarks and rock carvings that infused the landscape with legend. It was beside those carvings on a residency at Bidston Artistic Research Center where he began the journey of Atlas of Green, experimenting with tape loops and exploring the center's library of sci-fi. Here Hunt also encountered the work of Italian philosopher Federico Campagna, a writer who believes we're at the end of our current world. This encouraged Hunt's exploration of how the fabric and fantasies of our current era might endure into the future of Green, as they try to make sense of the riddles of the past, utilizing broken electronics and simple acoustic instruments to create new mythic forms. This question of endurance led Hunt to inscribe Atlas of Green with its own lucid markings - sometimes almost anthemic adornments - which unfurl through the album's melancholic air as possible new metaphors for how the human spirit might persist through dark days and regain lost wisdom. As Hunt reflects, "We're not just on an endless procession through constantly better worlds. Our lack of action (on climate and inequality) feels hopeless at times. I find some comfort in the idea that maybe the world needs a new song in order to tell a new story about itself". The image of Green as a journeying adolescent in-between eras developed out of a burgeoning interest in the fantasy writing of Ursula K. Le Guin and Gene Wolfe and occurred at a point in Hunt's life where the question of starting a family was looming. Green became a device for thinking about the future, or futures, putting someone in another world and granting access to a slightly longer timeframe than one's own life. What would this person, in this as-yet-unsung world do with something as powerful as music? As Hunt notes, "I imagined them doing what we've always done with music - using it to build a map of feeling, providing boundaries and tracing the edges of our emotions, defining a space of possibility and giving voice to our intuition. This is an alternative future to the one of endless growth but one which still holds space for hopes and dreams." Mapping new folds in the passage of time, Atlas of Green is traced with an aura of sonic urgency which arises through its process-led construction. Following a series of live shows in early 2023, the record was created with an assemblage of analogue electronics and acoustic instruments, including scratched records and a broken four track, collaging studio work with recorded live recordings featuring work in progress. Where the indeterminate energies of Under~Between (2021) appeared through digital processing, Atlas of Green embraces chance encounters within the malfunctions of physical media and glitching gear. Within these interwoven clusters of organic and blemished sound, Dialect reclaims the joyfulness of the inner amateur and creates a soft landing for new seeds of magical possibility - rooted in the bounds and abundance of realism. "As a planet of people we have to deal one way or another with our finite existence. We have to deal with that loss with hope still in our hearts - our capacity to love cannot be contingent on things lasting forever, and so this image of Green is not a vision of dystopia, nor utopia but an expression of trust and an acceptance of limits."

Recorded in 1956 for the EmArcy label, Vaughan joins with Hal Mooney and his orchestra to dive head-first into a collection of iconic ballads and standards. Opening with Billy Strayhorn’s “Lush Life”, Vaughan weaves her way through the set, which showcases her at her best. Rodgers & Hart’s “My Romance” is a notable performance, and the raw emotion in “I’m Afraid the Masquerade Is Over” is palpable. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Suicide Squeeze is thrilled to deliver a reissue of Interloper, the 2020 album from Holy Wave. Interloper sees Holy Wave adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on its most esoteric and thought-provoking themes. "I'm Not Living in the Past Anymore" is a mantra about breaking the cycle of the mundane, and "Escapism" is a dream-like meditation. "Interloper" serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward to blissed-out moments on album opener "Schmetterling," the saccharine haze of "R&B," and the freak-out catharsis of live favorite "Buddhist Pete." With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music

“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian

July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.

“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.

THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.

Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
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In 2013, a New Zealand teenager named Daniel Johann Lines quietly uploaded his debut album, melanchole, to Bandcamp under the moniker salvia palth. The LP was a homespun collection full of vulnerable, self-recorded songs about the overwhelming messiness that comes from growing up and figuring out who you are. Despite modest intentions, the record resonated profoundly with millions on platforms like Tumblr and Youtube, maintaining momentum through the TikTok and streaming era. menchole remains a wildly influential lo-fi release, a moving portrait of youth in turmoil. Over a decade later, Lines returns to the project with a new full-length titled “last chance to see”. Out February 16 via Danger Collective Records, the now 27-year-old musician offers his most fully formed and ambitious effort yet. last chance to see is not only a complete artistic reinvention but one that gracefully closes the chapter on a formative period of the songwriter’s life. His decision to revisit the salvia palth moniker is intentional and integral to the album.

Fast ein Jahrzehnt hat sich Jamie xx seit Veröffentlichung seines Solodebüts Zeit gelassen. „In Waves“, das zweite Album des Londoners, der mit seiner Band The xx zu den prägendsten Figuren der jüngeren Musikgeschichte gehört. Erneut lässt er seiner Liebe zur elektronischen Musik freien Lauf und entwirft die Geschichte einer Nacht, in der man in den himmlischen Puls von Schatten, Licht und Dancefloor-Rhythmen hinabtaucht.



“In Waves” hat seinen Ursprung in einem Mix, den Jamie 2020 für BBC Radio 1 machte. Hier tauchten neben Tracks der aktuellen Generation an UK-Dancemusic auch diverse musikalische Helden auf, etwa Roy Ayers, Fela Kuti, Tom Zé oder Philip Glass. Auch erste Versionen von Songs, die nun auf dem Album erscheinen werden, waren zu hören. “Es erinnerte mich daran, warum ich diese Musik liebe“, so Jamie, der zuvor lange mit der Frage gehadert hatte, wie es für ihn weitergehen würde. “Ich fand einfach Spaß am kreativen Prozess, ohne dabei an ein Ergebnis zu denken.“



Jamie xx pflügt auf „In Waves“ durch die Subgenres und Dekaden und fügt Northern Soul, Disco, Garage, Acid House, Techno, Tropicalia. Hip-Hop, Funk und den Sound der UK Underground Pirate Radios zusammen. Die kleinen Momente sind dabei so eindrucksvoll wie das übergreifende Ganze. Etwa jener Part bei “Treat Each Other Right“, der parallel zum Album-Announcement erscheinenden neuen Single: Zunächst wird man herausgerissen aus dem breiten Breakbeat-meets-Future-Soul-Vehikel, um sich mit den gepitchten Motown-Vocals plötzlich im Mittelwellenradio der 60er wiederzufinden. Die Worte “I’ll never let you down“ werden in die Ewigkeit gezogen, bevor ein biepender Puls über atmosphärischen Synths einsetzt und man direkt zurückgeführt wird in die schweißnasse Katharsis des Dancefloors.



Im Zeitalter der Algorithmen ist “In Waves” Zeugnis für pure menschliche Empfindung, ein lebensbejahendes Gegengift, das über den Kopfhörer in eine andere Dimension führt und zugleich gemeinsam auf der Tanzfläche erlebt werden will. Mit dabei sind u. a. Romy und Oliver, The Avalanches, Robyn und John Glacier.

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

Italian House Legend Salvatore Stallone is back on his own Imprint Dance Signal!

The principles of pleasure radiate a knowing, carnal heat throughout the genre-fluid sound of LSDXOXO. His decade of dedication to the sensibility of underground club culture has brought forth club classics interwoven with pop music hooks and subversive, tongue-in-cheek lyrics.

After four years of what LSDXOXO, real name RJ Glasgow, calls a period of “healing and self-discovery,” he is consolidating his multiplicitous sound with one compelling masterstroke: the debut album DOGMA, to be released on his own imprint F.A.G. DOGMA marks a complete paradigmatic shift: it is a poetic and fantastical performance, a route for deep escapism through an expanded musical palette including piano and guitar, and a deeply personal confessional through a fresh approach to songcrafting.

Within DOGMA, RJ meditates on the interlinked qualities of fame, infamy, lust and submission, as he rediscovers a pure, unadulterated approach to music-making, all the while adopting a futurist approach to pop music appreciation. RJ’s unmistakable signatures—the smutty dancefloor caller, the maker of irresistible bangers, the latter-day electroclash and DnB nostalgist—take on even more shades and intricacies. Despite his widespread acclaim as a collaborator with and songwriter for other artists, RJ strips DOGMA down almost exclusively to himself, carving out intentional space as a chameleonic vocalist and performer. He breathes life into the album with private thoughts, external fears and a red thread through personal themes that crystallise the album’s narrative from front to back.

The album’s promo single “Bloodlust” offers angsty, intimate indie-tronica, and musings on the intoxicating nature of love and infatuation. The lead single “Ghost” reaches beyond RJ’s Philadelphia origins to find itself in the deep south, in a sultry fever dream of coquettish R&B featuring backing vocals from close collaborator Kelela. Elsewhere on the album futuristic love, pensive pop earworms, evocative vintage dance styles and sleazy club tracks intermingle. While the DOGMA era will eventually explore remixes and reworks, the album is RJ’s purest embrace of himself and his artistry.

RJ first garnered attention as LSDXOXO in New York City with his on-the-pulse Soundcloud edits and then as part of the cult GHE20GOTH1K collective. His DJ sets and productions quickly earned him acclaim across globally-linked underground scenes. His decision to shift from sampled vocals to picking up the pen and microphone pushed his reach out to the stratosphere; his association with XL Recordings via the Dedicated 2 Disrespect EP in 2021 was a turning point for the burgeoning superstar.

This multiplicity of the LSDXOXO sound has led to enviable co-signs. These include being selected as the opening DJ for Beyoncé’s German Renaissance tour dates, remixing Lady Gaga, Pink Pantheress and Shygirl and producing five tracks for Kelela's highly acclaimed 2023 album for Warp Records, Raven. His fully-realised live show has also taken to the stage, serving fierce charisma to huge audiences at festivals including Primavera, Nuits Sonores and Rewire.

For years, Manu Chao has been travelling the world to meet his fans in unusual venues, villages and small festivals. Elusive, but always accessible to those who cross his path, Manu now presents his new studio album 'Viva Tu', a collection of songs written at the heart of daily lives and struggles, and a fresh take on the state of the world, singing sunny, universal songs in Spanish, French, English and Portuguese, painting an unforgiving picture of social imbalances.
The lead song 'Viva Tu', a heartfelt rumba dedicated to the daily life heroes, has already made its mark. The second single, 'São Paulo Motoboy', is a colorful, sunny ode to the two-wheeled delivery people venturing the Latin American metropoles every day.
The album, to be released September 20th, also features some memorable collaborations, including 'Heaven's Bad Day' with country legend Willie Nelson and 'Tu Te Vas' with rising French rapper Laeti.

For years, Manu Chao has been travelling the world to meet his fans in unusual venues, villages and small festivals. Elusive, but always accessible to those who cross his path, Manu now presents his new studio album 'Viva Tu', a collection of songs written at the heart of daily lives and struggles, and a fresh take on the state of the world, singing sunny, universal songs in Spanish, French, English and Portuguese, painting an unforgiving picture of social imbalances.
The lead song 'Viva Tu', a heartfelt rumba dedicated to the daily life heroes, has already made its mark. The second single, 'São Paulo Motoboy', is a colorful, sunny ode to the two-wheeled delivery people venturing the Latin American metropoles every day.
The album, to be released September 20th, also features some memorable collaborations, including 'Heaven's Bad Day' with country legend Willie Nelson and 'Tu Te Vas' with rising French rapper Laeti.

For years, Manu Chao has been travelling the world to meet his fans in unusual venues, villages and small festivals. Elusive, but always accessible to those who cross his path, Manu now presents his new studio album 'Viva Tu', a collection of songs written at the heart of daily lives and struggles, and a fresh take on the state of the world, singing sunny, universal songs in Spanish, French, English and Portuguese, painting an unforgiving picture of social imbalances.
The lead song 'Viva Tu', a heartfelt rumba dedicated to the daily life heroes, has already made its mark. The second single, 'São Paulo Motoboy', is a colorful, sunny ode to the two-wheeled delivery people venturing the Latin American metropoles every day.
The album, to be released September 20th, also features some memorable collaborations, including 'Heaven's Bad Day' with country legend Willie Nelson and 'Tu Te Vas' with rising French rapper Laeti.

Santanas mit neun Grammys und mehreren Platin-Auszeichnungen gekröntes Album "Supernatural" wurde zum 25-jährigen Jubiläum auf transparentem blauen Vinyl neu aufgelegt. "Supernatural" eroberte in 11 Ländern den ersten Platz und zieht mit Hits wie "Smooth (ft. Rob Thomas)" und "Maria Maria (ft. The Product G&B)" weiterhin neue Fans an.
Supernatural is the eighteenth studio album by Latin rock band Santana, released on June 15, 1999 on Arista Records. After the group found themselves without a label in the mid-1990s, founding member and guitarist Carlos Santana began talks with Arista president Clive Davis, who first signed the group in 1969, which led to a new record deal. The pair collaborated with A&R man Pete Ganbarg on the production of Supernatural as Santana wanted to focus his musical direction towards pop and radio friendly material and proceeded to do so by collaborating with various contemporary guest artists, including Eric Clapton, Rob Thomas, Eagle-Eye Cherry, Lauryn Hill, Dave Matthews, Maná, KC Porter and Cee-Lo Green. Supernatural became a significant commercial success worldwide. It reached # 1 in eleven countries, including the US for 12 non-consecutive weeks where it is certified 15× Platinum. The first of six singles from the album, "Smooth" featuring Matchbox Twenty singer Rob Thomas, was a number one success worldwide and topped the Billboard Hot 100 chart for 12 weeks.

Purple Disco Machine's third studio album "Paradise" will be released on September 20th. On the album, Purple Disco Machine has collaborated with artists such as Metronomy, Jake Shears, Duke Dumont, Sophie and the Giants, Nothing But Thieves and many more.

With over 1.8 billion streams worldwide, a Grammy win for Best Remix for Lizzo's "About Damn Time" in 2023 and being named Beatport's #2 artist of all time, Purple Disco Machine continues to dominate the global dance music scene with each new release. His recent successes include collaborations with international superstars Nile Rodgers, Benjamin Ingrosso and Shenseea on 'Honey Boy'.

Purple Disco Machine grew up in Dresden and developed his passion for disco and house music, which has seen him become a worldwide radio and streaming sensation with hits such as "Hypnotized", "Fireworks", "Dopamine", "In The Dark" and "Substitution". Beyond radio, Purple Disco Machine is a respected force among DJs worldwide, while the tracks 'Body Funk', 'Dished (Male Stripper)', 'Playbox' and 'Devil In Me feat. Duane Harden & Joe Killington' continue to dominate dance floors. Purple Disco Machine has remixed tracks for Dua Lipa, Mark Ronson, Calvin Harris, Sir Elton John & Britney Spears, Fatboy Slim, the Rolling Stones, Ryan Gosling's "I'm Just Ken" and many more

The maestro of nu disco is also a dedicated performer. His energizing festival appearances include Coachella, Tomorrowland, Lollapalooza, Ibiza and many more. Purple Disco Machine will embark on his own sold-out PARADISE tour of mainland Europe in the fall.

Purple Disco Machine's influence on the global dance scene is undeniable. His tireless commitment to inclusion and diversity in music ensures that his legacy will endure for generations to come.

The album PARADISE is another homage to the new age of disco and surprises with numerous top-class dance features, as well as of course the big hits of recent months.

Nigerian electronic musician and violist Ibukun Sunday debuts on Phantom Limb with Harmony / Balance, a brooding, introspective take on Afro-ambient music that follows two acclaimed digital-only albums for Phantom Limb imprint Spirituals.


Based in Lagos, Ibukun Sunday has expertly positioned himself between the rarely-married cultures of ambient and West African musics. He entwines his compositions with field recordings from his native Nigeria and deeply considered philosophies of existence, humanity, and society. The themes of Harmony / Balance derive from Swami and Hare Krishna founder A. C. Bhaktivedanta and his work Bhagavad-Gita Eng: “As It Is”, a script on the duality of human nature. In Bhaktivedanta’s text, two cousins - warriors from the sacred Hindu text the Mahābhārata - and their armies are pitted against each other. The humility, self control, and devotion of one cousin against the arrogance, envy, and pursuit of power of the other. Bhaktivedanta writes that from this battle we see the necessity to cultivate and nurture our love and faith, but to simultaneously understand our selfishness and hubris. Appropriately, in Ibukun Sunday’s music, a heavy, apocalyptic dread contrasts fascinatingly with passages of light. The static-spiked, corrosive sound design of Harmony / Balance conjures darkness, but its skipping rhythmic patterns and melodic contours are made of beautifully vibrant colours.



Though Sunday excels in the kind of drawn-out elegance also found in the work of Kali Malone, William Basinski or Fennesz, and also in a magisterial repetition akin to Terry Riley or Manuel Göttsching, his unique practice, classical training, and core culture shine through in a pure and singular way. Scattered throughout Harmony / Balance are unexpected melodic antiphonies closely aligned with African music, interspersed between huge, spacious drones and field recordings.



Lead track “Arrayed On The Battlefield” evokes mythical and deific wars with hissing, buzzing synthesis that could be dystopian if not for a levitational, sunlit harmonic structure. It rolls and shimmers, transcendent frequencies alive with rhythm. Later, “Enemy Of My Enemy” employs shimmering, meditative chord pads and blissful negative space, while towards the end of the record, “To Fight With” could have been taken from a Denis Villeneuve sci-fi - the fizzing, fiery distortion at its peak gradually, carefully yields a rumbling, distant thunder as it closes. Throughout the record, Sunday’s education as a classical viola player is also evident. A honed musicality and developed ear for harmonic resonances lend the work a measured eloquence, even amidst deep, spiritual intuitiveness. This intensely personal and powerfully expressive creativity is key to the grace with which he crosses divides.


Ibukun Sunday is a solo electronic musician and violist based in Lagos, Nigeria. He has released two albums with Phantom Limb’s digital-only imprint Spirituals, which enjoyed rightful acclaim as unique and powerful works of experimental ambient music. He also performed at Phantom Limb’s 5th anniversary celebrations in 2023, playing alongside Richard Skelton at St. John’s on Bethnal Green in London, UK.

"Skid Row - Live in London" ist das erste Live-Album der USRocker. Aufgenommen und gefi lmt (in hochaufl ösendem 4K) im
02 Forum Kentish Town im Oktober 2022, fängt das Livealbum
Skid Row auf dem Höhepunkt ihrer Kräfte ein und präsentiert
zeitlose Songs wie "18 And Life", "Slave To The Grind" und
"Youth Gone Wild" sowie neue Fan-Favoriten von "The Gang's
All Here", darunter "Tear It Down" und "Time Bomb". "Live in
London" ist das ultimative Skid Row-Live-Erlebnis und ein Muss
für alle alten und neuen Fans.

Schwedens gefeierter Komponist, Produzent, DJ und Pianist Rasmus Faber stellt sein erstes Ambient/Neoklassik-Album vor: "Where Light Touches“ A NIMA Story" ist eine Audiointerpretation des hochgelobten Buches "NIMA" des Illustrators Ross Tran (RossDraws) aus L.A. Rasmus erschafft ein vollständig immersives Hörerlebnis im Atmos-Surround-Sound und malt atemberaubende Audiobilder mit zart-melodischen Farbtönen, voller atmosphärischer Gespräche zwischen gefühlvollen Klavieren, beruhigenden Streichern und anspruchsvoller elektronischer Musik, die anmutig durch dieses bezaubernde Werk fließen. Aufgenommen mit komplettem Orchester in Stockholm, wurden die Werke mit elektronischen Elementen aus Rasmus' reichhaltigem Erbe verschmolzen.

DEFTR (pron - ‘Defuture’): The Revolutionary Collaboration Redefining Ambient and Techno Music

DEFTR, the newly formed alias of Answer Code Request and Jan Wagner, presents their debut album “Run Away” on npm, introducing a captivating fusion of ambient and techno. This collaborative project marks a departure from Answer Code Request's renowned 4/4 techno framework, venturing into expansive auditory realms enriched by Jan Wagner's classical expertise.

Spanning eight meticulously crafted tracks, DEFTR's debut album explores a spectrum of blissful and resonant soundscapes. The compositions unfold with a delicate balance of ambient textures and rhythmic innovation, punctuated by evocative vocal samples that enhance the album's atmospheric depth.

Having previously released three EPs that hinted at this innovative direction, DEFTR solidifies their unique sonic identity with this full-
length release. The interplay between Answer Code Request's intricate rhythms and Wagner's ambient sensibilities creates a dynamic tension, resulting in a listening experience that is both immersive and transformative.

DEFTR's vision extends beyond the studio, aiming to bring their sound to life on stage with a focus on live performance elements, including drum machines and synths. While details of the debut album release show are forthcoming, Berlin is anticipated to host this significant event.

With their debut album, DEFTR not only establishes a new creative path for Answer Code Request and Jan Wagner but also sets a high standard for npm's inaugural release, promising an engaging and profound auditory journey.

Tanukichan, the musical project of Oakland, CA’s Hannah van Loon, has been a prominent figure in modern shoegaze music since 2016, when she first collaborated with Chaz Bear of Toro y Moi. Together, they released an EP and two full-length albums under Bear's Company Records, culminating in 2023's GIZMO. With her new EP Circles, out September 20th, 2024, via Carpark Records, van Loon ventures into new territory by teaming up with a new producer for the first time – Franco Reid.

The genesis of their partnership dates back to the GIZMO campaign, when Reid noticed van Loon wearing an Incubus shirt in a press photo on Instagram. Intrigued by whether or not van Loon was a genuine fan, he sent her a DM. Their shared musical interest sparked a dialogue that eventually led to the creation of the single "NPC" in 2023.

Lead single “City Bus,” offers a reflection on van Loon's childhood bus rides in San Francisco, evoking the stop-and-go rhythm of commuter life through hard-hitting drums and heavy guitar feedback phasing in and out of the mix. Themes of self-reflection and societal belonging permeate the track, echoing van Loon's ongoing personal journey.

While much of Circles delves into internal struggles, “It Gets Easier” takes on a more celebratory tone as van Loon realizes she’s developed a heightened sense of maturity when dealing with hardship. “It feels easier to let go of situations or people that don’t serve me,” reflects van Loon, “Or if they can’t be avoided, at least I don’t have to dwell on the sadness or discomfort I feel when letting someone down.” Introduced by Reid, nu-gaze sensation Wisp, contributes a verse in her similarly ethereal vocal style.

There is a notable shift on Circles when you consider the first three Tanukichan releases were produced by a pioneer of the chillwave genre. With van Loon’s consistently dreamy songwriting and Reid at the helm, Tanukichan enters new sonic territory that feels larger, arena-ready, and more like a highspeed night drive than the hazy summer dream of its predecessors.

Limited Edition of 1000 Opaque Light Blue 180 Gram Vinyl LP. Ghost on Ghost is Iron & Wine's fifth full length record and was originally released in 2013. The album found Sam Beam the bands principle member working once again with longtime associate Brian Deck (Modest Mouse, Califone). The record marks the last time the two would work together on a journey that began with the bands second record, Endless Numbered Days. It also marked a shift for the two from working in Chicago to setting up in New York City. The idea behind the move was to tap into the creative musical community New York had to offer. The line-up that helped bring Beam's vision for Ghost on Ghost to life included a who's who from the jazz community as well as the deep wells of outside art including Steve Bernstein (Sex Mob/Levon Helm Band), Rob Burger (Tin Hat Trio), Brian Blade, Curtis Fowlkes (The Jazz Passengers), Tony Garnier (Bob Dylan Band), Marika Hughes, Briggan Kraus, Maxim Moston, Tony Scherr (The Lounge Lizards), Doug Wieselman, Kenny Wolleson (Tom Watis/John Zorn) and Anja Wood. The level of talent on Ghost on Ghost far surpassed anything Beam ever imagined when he first began writing songs as Iron and Wine on his four-track. Upon completing the Ghost on Ghost Beam jokingly referred to the recording process as "a reward to myself" after years of chasing sounds by himself. Being able have the finest in musicians in New York City perform on the record, elevating these songs into places he never imagined Beam stated, "it was an honor -- really inspiring." Beam stated at the time that Ghost on Ghost takes it's inspiration from records like Nilsson Schmilsson, Ram, Mingus Moves and What's Going On. The record they all crafted is warm and inviting and was like anything up to that point in the Iron & Wine catalog.

Limited Edition of 1000 Opaque Pink 180 Gram Vinyl LP. Kiss Each Other Clean, Iron & Wine's fourth full length record was originally released in 2011 and came three years after his biggest selling record up to that point, The Shepherd's Dog. The bands two earlier albums had been sparse, intimate solo affairs that offered no hint of the direction he would take with records three and four. Like The Shepherd's Dog, Kiss Each Other Clean is layered with textures, poly-rhythmic sounds and a more is more approach. His lyrics sprung to life in ways initially unimaginable to early fans and critics helping each song tell its story and build to climaxes thru various sounds and editing techniques. However what remained at the core of KEOC, and what fans of the band had come to love, was the song writing and singing of principle songwriter Sam Beam. Beam's ability to invite you in with his hushed singing tone and knack for a melody remained front and center even in his drive to replicate something in the vein of Waits' Swordfishtormbones Principle recording for KEOC was at home in Dripping Springs, Texas where Beam resided at the time. After laying down the bulk of the record Beam moved recording to Chicago to work with Brian Deck. A cast of musicians helped Beam find his sound and see his vision for KEOC including Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger (Tin Hat Trio), Benny Massarella (Red Red Meat/Califone), Chad Taylor (Chicago Underground Duo) and Matt Lux (Isotope 217). With KEOC Beam and company brought in soft rock smoothness, dub reggae textures, and instruments that hadn't been featured on previous records. The vintage synths on 'Monkeys Uptown', the Stevie Wonder funk on 'Big Burned Hand,', the strum and drang of 'Walking Far From Home' all give the otherwise very organic-sounding arrangements a welcome cheesy kick. The record also produced the biggest radio single of the bands career with the vintage AM friendly vibes of 'Tree by the River.' It was an adventurous period in the career in Iron & Wine and one in which Beam was defying categorization.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Nothing Left to Love is Counterparts' sixth studio album following 2017's You're Not You Anymore. Bookended by the powerful lyric “Will you love me when there’s nothing left to love?” — a desperate plea on commitment in the face of both mortality and morality — the album muses on many of the topics vocalist Brendan Murphy has in the past: life’s darkness, self-destructive tendencies and the self-flagellation they beget.

Coke Bottle Green & Transparent Orange Vinyl. This soundtrack features 54 tracks from the game "Headbangers - Battle of the Dancers", the latest game mode in "Headbangers: Rhythm Royale". This exceptionally diverse album was entirely composed and performed by Charles Bardin and Valentin Ducloux, with additional vocals by Priscilla Cucciniello on several tracks. Get ready to ruffle your feathers to the rhythm of all these pigeon-themed songs! Composer Charles Bardin: "With Battle of the Dancers, we wanted to create the most varied soundtrack in the history of video games. This was our intention from the very beginning. The 54 tracks on this album draw their inspiration from a wide range of musical styles: rock, funk, electro, pop, folk, reggae, punk and many more. We conceived this soundtrack as a tribute to music in all its diversity, all combined with silly lyrics about our pigeon friends."

Malcolm Pardon (Roll The Dice) is back into the fold for his second solo album, "The Abyss". The album, which will be released on Leaf, is a meditation on the taboos that surround mortality in our culture, looking past the bleak or macabre to observe death as a multi-layered, lifelong acquaintance. It"s also highly melodic and very beautiful. Malcolm has enlisted some remarkable creative talent around the project, including photographer Chris Shonting, designer Peter Ström and film-maker Oskar Wrangö.

Malcolm Pardon (Roll The Dice) is back into the fold for his second solo album, "The Abyss". The album, which will be released on Leaf, is a meditation on the taboos that surround mortality in our culture, looking past the bleak or macabre to observe death as a multi-layered, lifelong acquaintance. It"s also highly melodic and very beautiful. Malcolm has enlisted some remarkable creative talent around the project, including photographer Chris Shonting, designer Peter Ström and film-maker Oskar Wrangö.

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

The legend Dave Angstrom is back with Luna Sol's third album and you can't really ask for more. This is stoner rock and tight heavy blues at it's very best and Ripple Music are ecstatic to welcome the band to the family!

For as much as Sammy Rae & The Friends may be a band, this collective of dreamers and artists considers themselves a family first. That all-for-one and one-for-all camaraderie ignites their unforgettable and can’t-miss live shows, which serve as a catharsis for both the musicians and their fervent audience. Fronted by singer/songwriter Sammy Rae and honed through years of touring, the group is capable of flourishing in any spotlight thanks to its signature blend of palpable chemistry, deft virtuosity, and vocal fireworks.

Their sound, which has attracted new fans by the thousands in the past few years, is a unique mélange of Sammy’s influences: classic rock, folk and funk and sprinkled with soul and jazz. Rae has been building toward this moment since moving to NYC from Connecticut in her early 20s. Finding herself without a built-in peer group, she simply built it herself: the literal and proverbial Friends. When she started playing shows, she made sure the audience was part of the family too. Everything that’s happened since, from the EPs The Good Life (2018) and Let’s Throw a Party (2021) to sold-out shows in major markets and secondary markets alike across North America and the UK & Europe, to high-profile festival sets around the world, including Bonnaroo’s main stage, Sound on Sound and more, has been based on friends telling friends. As they prepare for the release of their long-awaited debut full-length album in 2024, Something for Everybody, Sammy Rae & The Friends have come to represent more than just a band: they are a full-on movement being adopted with a refreshingly diverse clientele.

Frederik Valentin is a Danish musician, writer and producer. He has been active since the early 2000’s, playing a key role in the Danish rock, electronic and pop scenes. Having collaborated with landmark labels like Posh Isolation and produced each of Yung Lean’s “Jonatan Leandoer96” projects, Valentin has reinvented himself over and over again. ROCK N ROLL WILL NEVER DIE is his latest solo LP, a collection of rock-inflected dance music that calls to mind the scandi alt-pop of the Tough Alliance and JJ.

Born in Cleveland, Ohio to Russian parents, Alina Baraz has been around music all her life. With both parents having classical training, she was destined to find her voice through music. Almost immediately after the release of her first single, “Roses Dipped in Gold” at age 19, Baraz and her family moved to Los Angeles to pursue her career as a singer/songwriter full time.In 2015, Baraz released her debut project, Urban Flora. The acclaimed project was praised by the Guardian, NPR, Huffington Post, Harpers Bazaar and many more, and sat on Billboard’s Top Dance/Electronic Albums chart for over 125 weeks, peaking at #2. In January of 2017, she released the viral single “Electric” ft. Khalid, which has been streamed over 190M times and counting. In 2018 she released The Color of You, enlisting Grammy-nominated producer Robin Hannibal (Kendrick Lamar, Calvin Harris, Cee Lo Green) to help produce the project Baraz has been in the works of a special project, leading with her single “Trust” as her first release of 2020.

"Here is what 2014 felt like: The cold, rushed walk from the Montrose Avenue L to the downstairs entrance of 20 Meadow Street, an address you could never quite remember. The careful steep climb to the top of the nondescript building, where Titus Andronicus’s Patrick Stickles was waiting to take your balled-up cash and stamp the inside of your wrist. Standing beneath that jagged cardboard punk bunting, draped with tangled twinkle lights, while Joe Galarraga, frontman of Big Ups, slowly, menacingly, wound a microphone cable around his fist. Then a barbed F-sharp sprang forward from Amar Lal’s guitar, shaking the entirety of Shea Stadium to life.

For much of that time period, ten years now behind us, it would be easy to say, man, you just had to be there. You had to be there when Death By Audio closed. You had to be there when the Apple store opened on Bedford Ave. If you weren’t there when a small, specific subculture of New York City took over its abandoned lofts and grimy basements and squatted itself into community, that’s okay — it might be too clunky and myopic to explain now. Released in January 2014 to Dead Labour in the US and Tough Love Records in the UK, Eighteen Hours of Static stands even now as a triumphant representation of what Big Ups did so well over the course of their nine-year run as a band. Now, with the re-release of Big Ups’ killer debut full-length, those who didn’t get to experience all this the first time around will get a shot at living as if it’s the glory days again."

Few bands are as primed to capture their ecstatic live energy in masterful sonic detail like Terry Gross. Composed of three renowned engineer/producers (recording artists like Wooden Shjips, Moon Duo, Earthless, Big Business, and more) whose studio doubles as their jam spot and communal gathering place, the trio"s penchant for longform psychedelic escapades is able to be recorded with granular precision. The potency of the fellowship formed by drummer Phil Becker (Lower Forty-Eight, Peace Creeps, Pins of Light), bassist Donny Newenhouse, and guitarist Phil Manley (Trans Am, Oneida, Life Coach) lies in their ability to utilize their prowess as both players and record engineers to translate feeling with immaculate clarity. On Huge Improvement, Terry Gross embody a complex web of emotion with songs as ferocious and precise as they are agile and care-free, delighting in the catharsis of excising tension alongside one"s most trusted peers. Huge Improvement"s tongue-in-cheek title is rightfully earned. Like their debut Soft Opening, the pieces on Huge Improvement began as improvised studio jam sessions without expectations. The trio"s ability to plug in, play and have each experiment thoroughly documented opens up unparalleled avenues for further exploration and honing. The four mammoth slabs that make up Huge Improvement are driving, unrelenting excursions into the unknown. Whether burning white-hot or smoldering in plumes of smoke, the pieces stretch as much inwardly as they do cosmically, embracing every surprising turn. Terry Gross"s Huge Improvement morphs the trio"s search for communal connection and reprieve into a transcendent respite, a burst of focused energy to be enveloped in while facing the senselessness around us with a smile.

German Powerhouse Labels Public Possession and Running Back Team up to bring you a nostalgic tribute to 80s Disco-Synth-Pop and Balkan Self-Pity. In a blend of cultural nostalgia and contemporary resonance, be-friended artists Krystal Klear and La Raf are set to release their first collaborative record titled "Boli Boli" (It hurts, it hurts) this autumn. The record is a steamy homage to the 80s disco-synth-pop. La Raf’s vocals equipped with Krystal Klear’s sound remind us of the bittersweet memories of the bygone yet still beloved music-era from former Yugoslavia.
The song came to life during a spontaneous creative outburst when Krystal and Raf reunited in a studio in London last year. Singer La Raf, a Croatian native based in Berlin, channeled the raw emotions of a not so recent break-up regret into the lyrics of "Boli Boli."
Infused with Balkan self-pity, the song delivers a very personal experience of pain and regret, not as mere sorrow but as a confident, joyful indulgence in one's own grief. This emotional depth finds a perfect counterpart in Krystal Klear’s talent for crafting melodies
that evoke both happiness and melancholia. Together, they have created a track that is as introspective as it is danceable, offering its listeners a glimpse into a world where sadness is embraced with a sense of pride and joy, capturing the cultural tapestry of the Balkan region.

20th Anniversary reissue. • Available on CD, and for the first time ever, on LP. • Includes new liner notes from Sam. • Contains “Reflecting Light” and “If I Could Write”—both featured on the fan- and streaming-favorite Gilmore Girls. Since the late 1980s Sam Phillips has been a poetic voice in the alternative/pop realm. She recorded a series of acclaimed albums for Virgin Records, including the Grammy-nominated Martinis And Bikinis (expanded and reissued by Omnivore Recordings in 2012), all produced by her then-husband T Bone Burnett. At the turn of the century, Sam was invited by Amy Sherman-Palladino, who was a fan of Sam’s music, to score her new television series, Gilmore Girls, on a new network, The WB. Sam’s unconventional score featuring vocal and acoustic guitar was likened to an onscreen character itself and dubbed “the La La’s” by the growing legion of Gilmore Girls fans. Around that time Sam signed a new deal with Nonesuch Records and continued to build her stellar catalog. In 2004, Phillips released A Boot And A Shoe, featuring guest artists including Burnett, Marc Ribot (Tom Waits, Elvis Costello), Mike Elizondo (Fiona Apple, Eminem), legendary drummer Jim Keltner, and the Section Quartet. The album contained 13 tracks including “Reflecting Light” and “If I Could Write”—both featured prominently in the Gilmore Girls original series and, most memorably, the Netflix revival Gilmore Girls: A Year In The Life. 2024 marks the 20th anniversary of A Boot And A Shoe and to commemorate the anniversary, it is being issued for the very first time on vinyl, and reissued on CD, both with new liner notes by Sam. On the occasion of its 20th anniversary, now is the time to reintroduce this incredible record, and on the format fans of Sam and Gilmore Girls have been waiting for.

MENSCHENFRESSER" heißt das aktuelle Album von RAWSIDE, mit dem die Band es sogar auf die #81 in den deutschen Albumcharts geschafft hat. Deshalb muss nun auch eine Nachpressung sein. Ink Spot Vinyl bedeuted knallroter Kern und außenrum schwarz-rot gemischt. Fünf Jahre nach dem wahrscheinlich persönlichsten Album "Your Life Gets Crushed" gibt es neue Songs der Hardcore-Punks aus Coburg. Songs, die wieder politischer, wütender und angriffslustiger sind. Menschefresser meint hier emotionalen Kannibalismus, psychischer Druck, der ausgeübt wird, wie Menschen sich verhalten, Ellbogen auspacken wenn sie nur versuchen, sich ihren eigenen Vorteil zu verschaffen. Oder Menschen, die denken, sie wären der Mittelpunkt der Welt. RAWSIDE werden nicht müde, den Finger in die Wunde zu legen und sich mit korrupten Wirtschaftsbossen, selbsternannten Verschwörungstheoretikern, rechten Politikern oder stumpfen Wutbürgern anzulegen. Die 13 neuen Songs von RAWSIDE sind eine volle Breitseite, musikalisch kommt es laut und fordernd zwischen Hardcore, Metal und Punk daher. Die Wucht der Songs hat seit dem letzten Album ein neues Level erreicht. Das liegt vielleicht auch an der Frischzellenkur in der Besetzung. Sänger/Shouter Henne ist das einzig verbliebene Gründungsmitglied nach mehr als 30 Jahren Bandgeschichte. Seit Sohn Justin am Schlagzeug ist gerade mal 23 Jahre alt. "RAWSIDE ist zum Glück keine One-Man-Show", sagt Henne. "Das waren wir nie und wollen wir auch nicht sein. 2024 hat die Band beim LOIKAEMIE-Label Fettfleck angeheuert. "Für uns war es ein Schritt in Richtung Selbstverantwortung", erklärt Henne. Bei Fettfleck sind wir in alle Prozesse eingebunden. Und das ist doch die Idee, die hinter dem ganzen Punk- und Hardcore- Gedanken steckt. So bleiben RAWSIDE auch nach über 30 Jahren Bandgeschichte ein Grundpfeiler der deutschen HC/Punkszene. "Menschenfresser" ist ein Biest von einem Album, dass die Vorfreude auf die Open Air-Saison nochmal steigert. Wir lassen schon mal das Dosenbier zischen. - Wolfram Hanke (Ox, Zündfunk, Der kosmische Penis)

Black Is Golden', the first full length release from Wyn Starks, isn't just the name of a record, it's his truth as a black man living in modern America. "I decided to call the album 'Black Is Golden' because throughout history black and brown people have gone through so much injustice in this country and yet contributed so much to society. I think it's important that we celebrate each other and all our differences." But the songs aren't all centered on social justice- the album features upbeat tracksk like "Circles" and "Dancing My Way" which showcase Stark's vocal range and sunny disposition; juxtoposed with "At The End Of The River", a deeply emotional track about the tragic loss of Wyn's twin brother. Starks' feels his journey to self-love is captured in this body of work. He shares, "I'm learning how to celebrate these accomplishments in my life and to love myself, flawa and all.

Die vier Berliner der Band BONSAI KITTEN machen, was sie wollen. Das ist auch der Grundtenor ihres 2017er Albums MINDCRAFT. Der Sound ist kompakt und huldigt energischem Riot-Rock. Das treibende Schlagzeug und die kühnen Gitarren-Riffs werden jetzt durch eine drängende dreisaitige Bass-Gitarre ergänzt, perfekt abgerundet durch Tiger Lilly Marleens schöne Stimme und scharfe Zunge. Diese Band hat Spaß! Das zeigen auch die schweisstreibenden Liveshows, die BONSAI KITTEN jedes Jahr quer durch Europa führen. Wer also denkt, Gitarren-Musik sei tot, kann jetzt aufatmen, denn BONSAI KITTEN hauchen dem Genre frisches Leben ein. Nun wieder erhältlich, Vinyl klassisch schwarz.