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Black Metal, Symphonic grandeur and Deathcore brutality collide in the majestic new album from A WAKE IN PROVIDENCE. 'I Write To You My Darling Decay' is a swathing monster of a record, citing influences from all across the heavy spectrum. As one of the established veterans of the Blackened Deathcore movement, AWIP are now here to set their sights on total domination as they rise to the upper echelons of the genre.

Repress!

DJ Sneak returns to Hudd Traxx in style for the first time in 16 years. Sneak's new EP features 4 future classics, which are reminiscent of his legendary Polyester and Sneak Essentials series'. With this in mind, label head Eddie Leader asked Sneak to deliver a series entitled 'For The Soul EP' to emanate some of his finest work.

Translucent Blood Orange Swirl Vinyl. Wenn man zu sich selbst zurückkehren will, muss man manchmal alles abschütteln, was man einst für real hielt. „Human Human“, das Debütalbum der Chicagoer Sängerin, Songwriterin und Produzentin Carlile, strahlt wie ein Leuchtfeuer von diesem Ort der Transformation. „Human Human“ ist ein von ganzem Herzen kommendes und unerschöpflich großzügiges Pop-Schätzchen, das vor Freude über die uneingeschränkte Selbstakzeptanz strahlt - und über all die unangenehmen, erschreckenden Momente der Hingabe, die es braucht, um an einen Ort zu gelangen, an dem man sich endlich in sein eigenes schönes Chaos verlieben kann. Carlile ist der zweite Vorname und das Pseudonym von Emily Nichols, einer langjährigen Figur in Chicagos blühendem Underground-Musik-Ökosystem. In den letzten zehn Jahren hat sie eine ganze Reihe glänzender Synthpop-EPs veröffentlicht und ist als Vorgruppe für namhafte Indie-Künstler aufgetreten. In dieser Zeit hat sie akribisch den Grundstein für ihr Debütalbum „Human Human“ gelegt, ein unbefangen verspieltes und aufregendes Synthie-Pop-Werk, das in seinen kühnen, ausladenden Bögen an die Wärme von Robyn und den Glanz von MUNA erinnert. Ein Album, das das Vergnügen auskostet, einen ganzen Regenbogen von Gefühlen an die Wand zu spritzen. Auf „Human Human“ konzentrierte sich Nichols auch auf die Erweiterung ihrer Produktionsfähigkeiten, ein Schritt, der ihr die Freiheit gab, ihre Songs von der Idee bis zur Ausführung bis ins letzte Detail zu realisieren. „Vor diesem Album habe ich mich bei der Produktion eher zurückgehalten. Dies waren die ersten Songs, bei denen ich die Führung übernommen habe", sagt sie. Nichols arbeitete mit ihrem langjährigen Mitarbeiter Noam Wallenberg zusammen, um die Demos, die sie aufgenommen hatte, zu kristallisieren. Gemeinsam haben Nichols und Wallenberg den Glanz, der „Human Human“ auszeichnet, herausgearbeitet, indem sie Songs wie „Illusion“ mit zarten stimmlichen Akzenten versahen und in „Fake Nice“ Schichten über Schichten von freilaufenden Harmonien säten. Das Album enthält Produktionsbeiträge von einer bemerkenswerten Liste von Chicagoer Künstlern, darunter Neal Francis, Luke Titus, Macie Stewart (von Finom) und Cocojoey.

If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.

Los Bitchos promise to turn the global indie rock scene upside down in 2024!

Ltd Edtion
If Los Bitchos’ electrifying 2022 debut album Let the Festivities Begin! was the rowdy build up to the big night out, then Talkie Talkie is the Technicolor explosion of the dancefloor. Made up of lead guitarist Serra, who carries both Australian and Turkish heritage, Uruguayan synth and keytar player Agustina Ruiz, Swedish bassist Josefine Jonsson and British drummer Nic Crawshaw, the group are united by a commitment to having fun. It’s a contagious energy they’ve had no problem transmitting to the world: since the band officially arrived in 2019 with two sell-out 7" singles, they marked themselves as one of London’s brightest bands to watch. Since then, they’ve found a home in beloved indie label City Slang, ripped stages across the most coveted stages the globe over (such as Glastonbury and Coachella, as well as supporting Pavement and King Gizzard & the Lizard Wizard), and radiated the verve of their personalities and cultures through their exploratory take on rock’n’roll. The London-based quartet’s new album is glistening with charisma, sonic experimentation and a puckish spirit. Named after a fictional club of the same name Talkie Talkie is a late-night paradise brimming with freedom and possibility; a place where partygoers can escape reality in the dance or daydream along to the invigorating soundscapes.

IAMX haucht seinem hyper-emotionalen Elektronik-Projekt mit dem neuen Album "Fault Lines " neues spirituelles Leben ein. Es ist der Nachfolger der aggressiven, kultigen Machenschaften, die auf dem 2023 erschienenen Album "Fault Lines " zu hören waren.
Dieses Sequel ist halb Mutant, halb Ballkönigin-Schwester mit pochenden Bassmonstern wie "Neurosymphony" und "Infinite Fear Jets", die ätherisch in Tracks wie "The Ocean" übergehen, in dem die großartigen Gesangstalente von Hafdis Huld im isländischen Intro und Outro zu hören sind.

Hätte Ivo Martins Genre einen Namen, er könnte "Humble Pop" lauten. In seinen Liedern trifft bildhaftes Storytelling auf detailverliebte Soundwelten - Fesselnde Emotionalität und die großen Fragen des Lebens, verpackt in moderne, zugängliche Popmusik, von Hand gemacht. Mit dem Debut-Album "Puls" gibt es nun erstmalig Ivo's Musik auch als handliche CD und als 12-inch Vinyl in der besonderen Citrus Farbe der Schallplatte inklusive einer hand-signierten Autogrammkarte sowie eines Posters in DinA1. Das Artwork des finalen Produkts wird von der Abbildung abweichen. Die Vinyl besteht aus 100% recycleten Farben.Die als Beispiel verwendeten Farben stellen nicht das tatsächliche Aussehen des bei der Produktion verwendeten ECO Mixed dar.

More than two years after the release of 'Impressões de Outra Ilha', Discrepant's head honcho returns home under his birth name with the appropriately titled 'Exotic Immensity'. Conjured from the seeds of an exhibition of dioramas at Le Bon Accueil in Rennes, this double LP feels quietly epic in scope, a sprawling travelogue through imagined scenarios and what if possibilities. Discarding the more rough around the edges collages of previous works under a myriad of aliases - Discogs it, if you will -, Cardoso's approach here is more meticulously composed, with seamless transitions within his own personal soundworld giving way to this hallucinated landscape of field recordings, subtle electronic tweaks, cascading patterns, queasy ambiences and kösmiche-like synth harmonies.

Perfectly embodied in Evan Crankshaw's cut up poem, filled with occult and sci-fi references such as Agrippa's Book of the Occult, William Blake's Book of Urizen, Dr. Moreau or 50's pop-science books, the music on 'Exotic Immensity' transverses time and cartography in a deeply personal matter, from the cricket-like textures and reverse loops of 'Réplica(s)' until the closing moments with the touching chord progression and mangled voices of 'Pó Nuno'. In-between, the foghorn meets bass clarinet melody of 'Ossos' recalls the unassuming but essential harmonic patterns of Laurence Crane, surrounded by an almost percussive sheet of field recordings that drift into the gliding synth tones of 'Desumanização (I & II)' until tape orchestral swells carry us into the aether. 'Aquário Novo Mundo' brims in an undisplaced cartography, from electronic marimba stabs to synth choirs, the call of the loom to labyrinthine keyboard harmonies and underwater radiance. Are we still here? Somewhere? The muffled looped rhythmic sequence of 'Imagem/Miragem', cut by the glow of cascading synths doesn't offer a reply. Nor does it need to.

'Exotic Immensity' exists on the perpetual outside. Blessed be Cardoso for showing us a way in.

Wieder einmal zerschneiden die Lärmaggressoren aus Finland den Schleier aus dem Jenseits und betreten unsere Welt, um alles zu plündern und zu Tode zu jagen, was in der Metalmusik melodisch, vorhersehbar und lieblich ist. Ihr drittes Album ist aus zwingenden Gründen selbstbetitelt und zeigt, dass die Band weiterhin das EXTREME im extremen Metal erforscht. Das ist vertonte Tollwut! Wie nicht anders zu erwarten, setzt das Album auf brutale Geschwindigkeit, schwerste zitternde Rhythmuspassagen, abgrundtief gekrächzte Flüche, stürmische Breaks und abstoßend kreischende Leads, die einen in einem Strudel des Wahnsinns ertrinken lassen. Doch dieses Mal werden dem pandemonischen Universum auch neue Schichten hinzugefügt: Schräge Stakkato-Riffing-Abschnitte gehen in verhexende Industrial-Szenarien über und lassen CONCRETE WINDS weiter gehen als jede andere Extrem-Metal-Band der letzten Zeit. Alles, was sich in der Musik etabliert hat, wurde weggelassen; alles abgeschnitten, was im Metal bequem geworden ist, und alles weggeblasen, was sich im Extrem-Metal noch "angemessen" anfühlt. Es scheint, als ob diese einst dringende Einstellung, Grenzen auszuloten, endlich wieder einen neuen Steuermann hat!

Experience the soulful and funky gospel sounds of the Howard Lemon Singers with the reissue of their 1977 album, Seasons, originally released by TK Records' Gospel sub-label Gospel Roots. Now reissued on vinyl for the first time through Regrooved Records, this album masterfully blends traditional gospel with modern soul elements, showcasing the Howard Lemon Singers at their most dynamic and inspirational.

Featuring rich vocal harmonies and uplifting messages, Seasons invites listeners on a spiritual journey through life's varying stages, emphasizing renewal, celebration, and introspection. Among the standout tracks is "You Are Somebody," a powerful anthem that resonates deeply with its message of affirmation and empowerment. The vinyl reissue preserves the original essence of the album, enhancing the audio quality to highlight the depth and warmth of the studio recordings.

Perfect for both avid gospel enthusiasts and newcomers, this reissue of Seasons by The Howard Lemon Singers is not just a record—it's a celebration of faith, resilience, and the human spirit. Add this pivotal piece of gospel heritage to your collection and let the timeless beauty of their music inspire you throughout the seasons of your life.

Experience the divine power of gospel music with the reissue of the legendary album Together by Gloster Williams and The King James Version. Originally released in 1977 on Gospel Roots Records, this seminal work is now re-released for the first time on vinyl, courtesy of Regrooved Records.

Together captures a moment in gospel music that is both timeless and transcendent. Led by the dynamic Gloster Williams, The King James Version choir brings an electrifying blend of traditional gospel with hints of soul and R&B, creating a sound that uplifts and inspires. This album is famed for its stirring harmonies, powerful lyrics, and the passionate delivery that fans and newcomers alike will find deeply moving.

Highlights of the album include the soaring title track, "Together," which has been a staple in gospel music playlists for decades, celebrated for its message of unity and spiritual upliftment. Each song on the album is crafted with care, featuring intricate arrangements and a raw emotional energy that captures the essence of gospel music's golden era.

This reissue is a meticulously remastered version that enhances the original recordings while preserving the authentic sound that made Together a must-have for gospel collectors and enthusiasts. It's pressed on high-quality vinyl to deliver the best listening experience, ensuring that the richness of the choir’s vocals and the depth of the instrumentation are beautifully rendered.

Don't miss this opportunity to own a piece of gospel history. The reissue of Gloster Williams and The King James Version’s Together is a testament to the enduring power of gospel music to console, celebrate, and connect us. Add this vital record to your collection and let its messages of faith and fellowship fill your home with joy and inspiration.

Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.

"Bury Your Gods" ist das dritte Studioalbum der Melodic Death Metal Band DELIVER THE GALAXY, die aus dem Harz stammt.
Das Album taucht tief in die Welt der Prä-Astronautik ein und stellt die spannende Idee vor, dass die Menschheit nicht allein im Universum ist. Es diskutiert die These, dass eine außerirdische Rasse die Erde zur Zeit der alten Sumerer besuchte und ihr Wissen und ihre Technologie der unterschiedlichen Pyramiden-Konstruktionen weitergab.
Titel wie "Bury Your Gods" erforschen das faszinierende Konzept einer außerirdischen Gottheit, die angesichts einer möglichen Invasion fordert, irdische Götter zu verbannen, während "Get Down" direkt dazu aufruft, sich dem Einfluss des außerirdischen Gottes zu unterwerfen.
Im Vergleich zu den vorherigen Veröffentlichungen, hat sich die Band einen härteren Sound zugelegt, der dem Hörer ein intensives Musikerlebnis beschert.
Tracks wie "Deathlight" oder "Shadows" zeigen zum ersten Mal die Klargesang-Fähigkeiten von Sänger Matthias Mente auf.
Insgesamt ist "Bury Your Gods" eines der stärksten Alben, die die Band je veröffentlicht hat.

"Bury Your Gods" ist das dritte Studioalbum der Melodic Death Metal Band DELIVER THE GALAXY, die aus dem Harz stammt.
Das Album taucht tief in die Welt der Prä-Astronautik ein und stellt die spannende Idee vor, dass die Menschheit nicht allein im Universum ist. Es diskutiert die These, dass eine außerirdische Rasse die Erde zur Zeit der alten Sumerer besuchte und ihr Wissen und ihre Technologie der unterschiedlichen Pyramiden-Konstruktionen weitergab.
Titel wie "Bury Your Gods" erforschen das faszinierende Konzept einer außerirdischen Gottheit, die angesichts einer möglichen Invasion fordert, irdische Götter zu verbannen, während "Get Down" direkt dazu aufruft, sich dem Einfluss des außerirdischen Gottes zu unterwerfen.
Im Vergleich zu den vorherigen Veröffentlichungen, hat sich die Band einen härteren Sound zugelegt, der dem Hörer ein intensives Musikerlebnis beschert.
Tracks wie "Deathlight" oder "Shadows" zeigen zum ersten Mal die Klargesang-Fähigkeiten von Sänger Matthias Mente auf.
Insgesamt ist "Bury Your Gods" eines der stärksten Alben, die die Band je veröffentlicht hat.

Reeling In The Weeks—which felt like Years — after my first Current 93 album, I had started on the difficult second C93 album, DOGS BLOOD RISING.

Having been asked to appear on both Top Of The Pops AND The Old Grey Whistle Test 93 times in the same week after the release of NATURE UNVEILED, I realised that God was telling me that I had hit on a winning formula of Christian eschatology and Apocalyptic Christian texts over a SoundScape As Cool As Flies, but that I was missing the vital ingredient of a Simon & Garfunkel song. DOGS BLOOD RISING — which I described to myself in a VISION as an album which hoped, wished, and made bad trips sound like good trips — was essentially the Mirror Night of NATURE UNVEILED, although only half of it was recorded at Roundhouse Studios. Squats were calling, and 8-track studios were all I was able to afford. DOGS BLOOD RISING didn’t chart, except in my NightSweats. Listening to it now, it makes me as restless as I was then, staring beyond the windows there, watching and praying for something, someone, anything, anyone.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Current 93’s first and last album, NATURE UNVEILED dragged together my obsessions, as I had decided to make a pop album that dealt with my (then—as now!) primary fascinations: Christian apocalyptic and eschatological Christian texts.

In my Speed-Ridden Soul and Mind, I thought I was reinventing The Ronettes, and that the 2 long sides of NATURE UNVEILED were A- and B- Sides of a Wall Of Soundhogs HIT! But the reality is that I was sharing a squat in Vauxhall with Little Annie Anxiety, and hanging out with Youth in The BatCave, with chickens rescued by The Animal Liberation Front in our backyard. Or did that come soon after, soon later? The album was recorded at The Roundhouse Studios in London’s Chalk Farm, home of Bronze Records, the label of my heroes (then—as now!) Uriah Heep, and Motörhead too, for whom I had moved stage-gear on their tour promoting their debut single on Chiswick Records.

Anyway, anyway—I had not reinvented The Ronettes, though every time, every place, I listen to NATURE UNVEILED it Hits Me, And Feels Like A Judas Kiss. There has been NOTHING UNVEILED like NATURE UNVEILED, Before, Since, Or After.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Amazing compilation of Litto Nebbia's recordings from 1971-1988, a magical and prolific time in the career of the Argentine artist and in the history of his record label, Discos Melopea, including different sounds, from jazz to Brazilian rhythms or experimental textures. Hip-hop artists and producers such as The Alchemist, Jay Electronica and DJs such as Gilles Peterson have openly declared their admiration for Nebbia, generating great interest in his records among collectors around the world. This double-LP compilation, first one ever released in Europe, comprises twenty one recordings taken from some of his best-known albums and also rarities, tracks previously unavailable on vinyl and songs taken from his most obscure albums, the vast majority never reissued on vinyl before. This compilation, the first to be released in Europe, is a subjective look into his fascinating work. It has no historical biographical pretensions or completist aspirations. The selection includes forays into different sounds, from jazz to Brazilian rhythms or experimental textures, which show the rich variety present in Litto Nebbia's vast discography. This collection of songs extends throughout the period 1971-1988, a magical and prolific time in the career of Litto Nebbia and in the history of his record label, Discos Melopea. It comprises twenty one recordings taken from some of his best-known albums, "Bazar de los milagros", "Canciones para cada uno", "Toda canción será plegaria" and also rarities, tracks previously unavailable on vinyl and songs taken from his most obscure albums, the vast majority never reissued on vinyl before.

Nach den von Fachmedien gefeierten Neuauflagen ihrer Releases aus der Mitte der 1990er Jahre melden sich Seefeel mit ihrer ersten neuen Musik seit 2011 zurück. "Everything Squared" ist ein exzellentes 6-Track-Minialbum und eine zeitgenössische Weiterentwicklung ihres typischen Sounds. Es wurde hauptsächlich von dem Kernduo Mark Clifford und Sarah Peacock komponiert und eingespielt, der Bassist Shigeru Ishihara spielt auf zwei Tracks. Das Mastering übernahm der Berliner Toningenieur Stefan Betke alias Pole bei Scape Mastering, das Design stammt von Ian Anderson, The Designers Republic.

"One of the best bands to come out of NYC since who gives a shit." -CVLT Nation. When you enter White Hills' lair in Brooklyn, the duo's insatiable desire for music and art is immediately palpable. Crates of vinyl from floor to ceiling line the long hallway. Guitars appear at every angle, one lying across a sofa in obvious mid-play with others in cases tucked beside amplifiers into every conceivable corner. Synthesizers and cables cover the purple satin bed while gouache paintings in various stages of progress strewn the floor. Album covers, movie posters, books, paintings, prints and souvenirs of subversive culture occupy the remaining wall space. A sanctuary of adoration, creation and imagination, it's also the nerve center of their record label Heads on Fire Industries and the site where the final mixes of their latest album Beyond This Fiction took shape. For nearly two decades, White Hills have been blowing minds with their sonic alchemy: a unique mix of neo-psychedelia, art rock, and post-punk- at once original and recognizable. Their cult reputation emblazoned in celluloid following their performance in Jim Jarmusch's sultry vampire romance Only Lovers Left Alive, the duo has toured vigorously since their inception. With a vast catalogue that astounds and a relentless punk ethos, time seems to energize the duo, making them increasingly daring and prolific. "Music creates a bliss beyond sex and drugs," professes one-woman rhythm section Ego Sensation. "We'll never stop making music. It's the highest high to be had in life." Founding member Dave W, whose signature other-worldly guitar sorcery defines the White Hills sound, grabs his Les Paul to record a melody lingering in his head from last night's dream before it escapes. Outside, the sound of passing sirens, honking horns and bits of conversation remind you that you're in the middle of New York, a city so flush with rock legacy and artistic innovation it would take lifetimes to drink it all in. A voice from outside shouts, "This shit is going for 3! These people got to be out of their fucking minds!" Dave shakes his head and laughs, "There's no place I'd rather be." Committed to a vocation marked by extremes, doubt, struggle and moments of ecstasy, Dave and Ego continue this torrid affair with music bearing their latest fruit Beyond This Fiction. Inspired by the ideas of Joseph Campbell, the writer/philosopher known for the book The Power of Myth, the album explores the idea of "riding between opposites"- forging one's own path unrestrained by the dualistic constraints of society. It's a cry to all the seers among us- call us outsiders or rebels- who feel smothered by convention and see nonconformity as the gateway into divine mystery. Recorded with Martin Bisi, known for his iconic NYC sound developed through his work with no-wave titans Sonic Youth, Swans and Lydia Lunch, Beyond This Fiction sees Dave W (guitar/vocals/synths) and Ego Sensation (drums/bass/vocals) orchestrating their distinct guitar heavy meditations into songs with a stronger focus on vocals than previous albums. Opener "Throw It Up In The Air" and closer "Beyond This Fiction" both have a lush quality that flirts with shoegaze. "Killing Crimson", a song that takes inspiration from Killing Joke and King Crimson, has a driving beat and a catchy hook that begs for a sing-a-long. "The Awakening" plunges into the meditative ambient abyss the band is well known for, featuring the unique voice of frequent collaborator poet Dan McGuire to deliver the meaning behind Beyond This Fiction. The album harnesses the seductive accessibility of 2015's Walks For Motorists while evoking the tempestuous soul of the band's seminal 2011 H-p1. Notorious shapeshifters, White Hills make Beyond This Fiction a familiar surprise. Back in the lair, Dave draws eyes on his hands in preparation for the day's video shoot. Ego reaches in the closet pulling out the red velvet jacket she wears on the cover of Beyond This Fiction where she stands in a NYC alley holding a glowing orb. "That's the portal- the gateway into the mystery. The music will take you there.".

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

Edwin Birdsong’s self titled album was released in 1978 on Philadelphia International Records at the height of the Disco craze. By this time, Edwin was a major player at PIR and a talented songwriter and producer as well. Birdsong’s vision hits the mark as the album boasts several gems that became dance floor classics, especially in New York, Philadelphia, Chicago, LA and San Francisco. “Cola Bottle Baby”, “Kunta Dance” and “Goldmine” are all hard hitting funks gems that kick in hard and are ready for partying. Daft Punk sampled the hitsong "Cola Bottle Baby" in "Harder, Better, Faster, Stronger". The sexy “Lollipop” is years ahead of its time and the irresistible “Freaky Deaky Sities” and “Phiss-Phizz” both became huge club hits, despite not having charted on any of the Billboard charts. Even though the album missed the charts, it became something of a hot item for disco/soul music collectors. Edwin Birdsong is available as a 45th anniversary limited edition of 750 copies on crystal clear and transparant green marbled vinyl.

"The Modulations released their album It's Rough Out Here in 1975. This album featured the singles ""Rough Out Here”, “I Can’t Fight Your Love”, and the title track, along with other soulful tracks that explored similar themes of struggle and resilience. The singles received considerable airplay and managed to chart on Billboard’s R&B single Chart. While the group never achieved great mainstream commercial success, they garnered a dedicated following among soul music enthusiasts for their emotive vocals and heartfelt lyrics. The Modulations recorded extensively with MFSB, the house band of the famed record label Philadelphia International. These sessions yielded to this album It's Rough Out Here, which is considered a gem of 1970s soul music, showcasing The Modulations' talent and ability to capture the essence of everyday life through their music. The group reached the pinnacle of its career with an appearance on Don Cornelius’ popular TV show Soul Train in 1976. It’s Rough Out Here is being reissued for the first time in almost 50 years and is available as a limited edition of 500 copies on yellow coloured vinyl. "

We welcome you, Endless Rüttenscheid", sing International Music in the title track of their third studio album, which will be released on 6 September 2024. The album title "Endless Rüttenscheid" is likely to be a real challenge for fans outside the German-speaking world. "Endless", of course, but then: a rolling R followed by an umlaut, a double T and a hard pronounced D at the end: Rüttenscheid. This is the name of the flourishing district of Essen in the centre of Europe, which stands for lucrative growth in the Ruhr region, but also for the well-known problem of gentrification. But as is usual with international music, such socio-political subjects mainly form spaces in which to fall in love, dream and part again, only to meet again one day. "Heart is the trump card", to quote the cult band TRIO, who have more than just the size of their line-up in common with International Music.

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

Die Geschichte von Canned Heat ist auch gleichzeitig die Geschichte von Exzessen, Drogenmissbrauch, psychischen Erkrankungen und Tablettensucht, verbunden mit der Affinität für bandinternen Begräbnisse. So sagte erst vor kurzem Drummer Adolfo "Fito" de la Parra in einem Interview: "Ich bin nach über 55 Jahren noch immer bei Canned Heat. Überhaupt noch am Leben zu sein, ist hier schon ein Triumph". Schließlich war Fito seit dem zweiten offiziellen Album der Band "Boogie With Canned Heat" mit dabei, das 1968 auf dem US-Label Liberty veröffentlicht wurde. 1970 erschien "Future Blues", das erste Album mit dem neuen Gitarristen Harvey Mandel. Mit "So Sad (The World"s in a Tangle)" enthält das Album den ersten Umweltschutz-Song der Band. Es handelt vom ständigen Smog über Los Angeles. "Let"s Work Together", eine Coverversion von Wilbert Harrisons "Let"s Stick Together" aus dem Jahre 1962, wurde für Canned Heat weltweit zu einem Top Ten Hit. Im gleichen Jahr folgte der Konzertmitschnitt ""70 Concert: Recorded Live In Europe". Aufgenommen an verschiedenen Orten während der Tournee durch Europa (u. a. der Londoner Royal Albert Hall), ist dies das erste offizielle Live-Album der Band und gleichzeitig das letzte Tondokument von Canned Heat mit Alan "Blind Owl" Wilson, der im September 1970 an einer Überdosis Tabletten starb. Mit "Final Vinyl" veröffentlichten Canned Heat vor kurzem ihr letztes Album; "Future Blues" und ""70 Concert: Recorded Live In Europe" gehören zu ihren essentiellen Alben, als die Band in ihrer Keybesetzung mit Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel und Larry Taylor Ende der 1960er / Anfang der 1970er Jahre den Zenit ihres Schaffens erreicht hatten. Wilsons Tod hinterließ eine Lücke, die nicht mehr zu schließen war, zumal auch Larry Taylor und Harvey Mandel kurz zuvor Canned Heat verlassen hatten, um sich John Mayalls "USA-Union"-Band anzuschließen.

Cryptic Hatred was formed in 2019 by four friends bound together by their mutual passion for music and death metal. In summer 2020 they quickly released their first demo Free from the Grave to positive international feedback. The demo then received a CD release from the US-based Desert Wastelands label, as well as a release in Europe via Finland-based The Other Records. Soon after, the debut album Nocturnal Sickness dropped in early 2022 (again via The Other and Desert Wastelands), elevating the band to even greater standing in the global death metal underground. The feedback was overwhelmingly positive from both the fans and the metal media, highlighting the leaps the band made in terms of both musicianship and songwriting. Nocturnal Sickness sold over 1000 physical copies and streamed over 100 000, with high praise coming from metal press (such as the esteemed US metal magazine Decibel). The songs on Nocturnal Sickness were notably in the vein of classic Florida death metal - but it also had moments of unhinged melody and savagery which highlighted the band's movement towards their own, identifiable sound. "Internal Torment" is a testament to Cryptic Hatred's ability to craft music that speaks to the soul. It is an invitation to explore the shadows within, to confront the demons that lurk in the recesses of the mind. With each listen, new revelations await, making this album a haunting journey of self-discovery. Prepare to be spellbound by the subtle intricacies of "Internal Torment," as Cryptic Hatred invites you to lose yourself in the haunting beauty of their mesmerizing cryptic metal sound.

Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

Solid green vinyl. Qwälen became what it is in 2017. The band members share a passion for playing music in its various raw manifestations and their band backgrounds include Küroishi, Nistikko, Dumathoin and Akma among many others. Punk background bleeds into the music connecting Qwälen's interpretation of black metal into how the genre started decades ago. Simplicity, rawness, speed and honesty. These values were present in the beginning and the same values still hold true. Punk background especially shows live as the chaotic energy of hardcore punk clashes with the ritualistic nature of black metal. Lyrical themes in the first album focused on self-portrayal, dealing with loss, building anew along with finding alternatives in abandonment, misanthropy and Satan. The second album ponders the sheep-like nature of humanity, the inevitability of destruction, the acceptance of being faulted and surrendering to a greater force. Syvä hiljaisuus was recorded at Waiting room recording studio in Tampere with Mikael Neves who has worked with the likes of Death toll 80k and Tryer. Mikael also handled mixing duties. Mastering was done by Will Killingsworth at Dead air studios.

The world of ENDON is one of constant evolution and revolution. The Tokyo-based ensemble of Taichi Nagura, Koki Miyabe, and Taro Aiko have made a name for themselves with their relentless exploration of sonic extremes in the vein of artists such as the Boredoms and Merzbow. The resulting music is a powerful emotional release for both artist and listener. Their commitment to evolution and dystopian noise as a playground for exploration and pure expression carried them through the recent departure of their drummer Shin Yokota and the tragic death of brother and band member Etsuo Nagura in 2020. Where some might have tried to replace members, ENDON"s core pressed forward with an autobiographical work exploring these changes and the shifts in their lives. Honest and raw emotions delivered with uncompromising sonic intensity, Fall of Spring is a thrilling tidal wave of sound and raw emotions born of the psyche of three individuals musically congregating into one tumultuous voice. Fall of Spring captures the electricity and unpredictability of ENDON"s live performances in vivid detail. The album harnesses the power of their storied performances through unpredictable movements, deft arrangements and an exhilarating textural palette. By imbuing their sound with raw feeling at every edge of obliteration, the trio are able to create what they call "organic music with inorganic material." For ENDON, those moments of suspense and surprise are the core of their music. As with their shows, Fall of Spring is a vessel for band and audience to share moments, to suspend time and move through grief and pain, and to bask in catharsis and resilience. ENDON continues to be a mercurial force in the world of extreme music.

Bomp Records of Burbank, California was likely the most significant American independent record label of the 1970s. In 1979 Voxx was founded as a subsidiary of Bomp as a specialty label for '60s-styled garage and psychedelic inspired music and was home to the debut album of the Pandoras. The Pandoras really got started back in 1982 when triple threat Paula Pierce (guitar, vocals AND songwriter) met singer and guitarist Debbie Mendoza at Chaffey College Rancho Cucamonga, one of those dozens of small communities that make up the greater Los Angeles area. According to stories told around the campfire, Paula had posted an advertisement on the bulletin board inside the college's cafeteria. The ad was both simple and direct: Wanted: female musician to jam with. As legend has it, the ad also stressed a keen interest in 60's garage punk music. Debbie answered Paula's ad, and soon the two girls were bringing guitars to school and holding impromptu jam sessions between classes. A little later that year, Paula brought in Gwynne Kahn on keyboards and second guitar, and Debbie convinced drummer Casey Gomez to join. People who were around at the time pinpoint December 1982 as the official beginning of the Pandoras as a band. The Pandoras didn't waste any time getting down to business. They started gigging regularly, and their repertoire of tasty garage nuggets expanded substantially, fueled both by Paula's talented songwriting and also no doubt by her relationship with Unclaimed frontman Shelley Ganz and his extensive knowledge of obscure 60's gems. The Pandoras unleashed their first recordings on the world in 1983 with the "I'm Here, I'm Gone" EP on Moxie records. It was a meaty slab of girls in the garage punk rock, and while maybe not as polished as subsequent efforts, it clearly showed off the talent of the band. Greg Shaw had been alerted to the band a few months earlier, and always one to know a good thing when he heard it, he quickly signed them. "It's About Time" saw the light of the day in 1984 on Voxx Records and became one of the first and best efforts of authentic 1960's-styled garage punk to emerge from the revival scene. It was pure garage gold! Today, 40 years after its original release date, we are thrilled to reissue this essential '80s garage punk gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes 3 bonus tracks and liner notes by Gravedigger V's John Hanrattie. "Paula Pierce refused to play it cute. On The Pandoras' debut album she out-snarled, out-screamed, out-fuzzed and out araged the male-dominated competition-like a well-aimed go-go boot to the jugular." - Mike Stax, Ugly Things Magazine "As good a '60s punk record as any contemporary combo is likely to make." - Trouser Press

Das Debütalbum ”The Dichotomy” von David Kushner erforscht die menschliche Existenz anhand von zwei
Gegensätzen. Das 17 Songs umfassende Werk untersucht das Zusammenspiel von Licht und Dunkelheit,
Glück und Traurigkeit, Wut und Liebe, Helden und Schurken, sowie die Dichotomie unserer inneren Dä-
monen und Engel. Durch die Verschmelzung von introspektiven Texten fängt David Kushner die Essenz
emotionaler Erfahrungen ein und schafft Verbindungen zu allen Lebensbereichen. Das Album entstand
in Kooperation mit einer Reihe Künstlern und Produzenten, darunter Wesley Schultz von The Lumineers,
David Baron (Shania Twain) und der zweimalige Grammy-Award-Nominierte Rob Kirwan (Hozier, U2).
David Kushner, der aus Chicago-stammende Singer/Songwriter, schaffte 2023 den weltweiten Durchbruch
mit seiner Single ”Daylight”, die hierzulande die Top 5 der Singlecharts erreichte und mit Gold ausgezeichnet ist. Neben ”Daylight” sind auch die Nachfolgesingles ”Dead Man”, ”Skin and Bones” und ”Hero” auf
seinem Debüt ”The Dichotomy” zu finden.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
“Sweet Rain” gilt als eines der besten Alben von Tenorsaxofonist Stan Getz und führt dennoch so etwas wie
ein Schattendasein. Aufgenommen hat er es im Anschluss an seine ungemein populäre Bossa-Nova-Phase
mit einer neuen Band aus Pianist Chick Corea, Bassist Ron Carter und Schlagzeuger Grady Tate, die ihn zu
neuen solistischen Höhenflügen inspirierte und wesentlich freier aufspielen ließ als in den vorausgegangenen
Jahren.

Due to popular demand "Live In London," the highly anticipated release from legendary British Reggae group Aswad is now in physical form! This album marks a new era for the band, their first feature release in over a decade, making it a poignant moment in their storied career. With the passing of the late great Angus "Drummie Zeb" Gaye, this album stands as a powerful tribute to his memory, indomitable spirit and will for the work to continue. Passionately produced by principal members Tony Gad and Soloman, recorded in the heart of London at the iconic Jazz Cafe, this electrifying album captures the essence of the British-born reggae movement at its finest. Mixed by Christian Cowlin of The Wailers and mastered by Mark Gittins at Sensound Studios, each track from "Babylon" to "Just A Little Herb" shines a beacon on the band's unparalleled musicianship and electrifying stage presence. Don't miss your chance to be part of reggae history and experience the power of Aswad like never before! Exclusively from SMC Records, a division of The Spaine Music Company.

"Following a nearly seven-year hiatus, deathcore titans Oceano erupt with full force on their highly anticipated sixth album, Living Chaos. Featuring nine earth-shattering tracks written by Adam Warren and Scott Smith, including the acclaimed single “Mass Produced,” the next chapter of Oceano expands their patented deathcore punch with brutal breakdowns and seismic atmospheres on tracks like “The Price of Pain” and “Wounds Never Healed.”
One of the most established and long running bands in the modern Deathcore scene, Oceano have attracted global acclaim and attention with their heavy touring schedule and increasingly punishing studio releases."

Montevideano: Luciano Supervielle and the Montevideo Philharmonic Orchestra" puts together a collection of pieces which, through a subtle accompaniment of electronic programming and synthesizers, generates a unique merge of orchestral music, Rio de la Plata music and new tendencies in electronic music and hip-hop. Montevideano could be considered a fundamental milestone in the career of Luciano Supervielle, who, together with the Philharmonic, managed to unite the worlds of classical music, hip hop and Montevidean roots with his compositions as never before. But more than a culmination, this album is at the same time the beginning of new paths and the continuation of the constant search for his own style.

Small tribute to the Spiral Tribe for the choice of the title.
For making us see life in a different way with alternative music and parties to what was done at the time and which continues and will continue to influence the sound systems and artists from yesterday, of today and tomorrow.

10 artists 10 different Tribe styles
Thank you to the artists for participating in this project.

Die legendäre Swamp Blues Band aus dem New York der Neunziger, THE CHROME CRANKS, setzte sich zusammen aus Peter Arron, William Weber (G.G. ALLIN&THE MURDER JUNKIES), Jerry Teel (HONEYMOON KILLERS, BOSS HOG, JERRY TEEL&THE BIG CITY STOMPERS) und Bob Bert (SONIC YOUTH, PUSSY GALORE, FIVE DOLLAR PRIEST). 1994 nahmen sie im WMBR Studio in Boston auf und verließen es mit zehn neuen Tracks im Gepäck, ihre bis dato brutalsten, lautesten und intensivsten Songs. Endlich auf Vinyl mit großartigem Artwork und bisher ungesehenen Bildern!

KIM SALMON. Muss man da tatsächlich noch mehr Worte verlieren oder reicht es, zu sagen, das Mr SALMON der unerreichte Meister des Swamp Sounds ist? Mit seinem neuen Projekt und ,Rock Formations" ist er über alle Grenzen erhaben und entwickelt eine Theorie maximaler Brutalität. Dazu tragen auf den Instrumental-Stücken sicherlich die sechs Gitarren und zwei Schlagzeuge bei. Das erinnert an eine potente Mischung aus frühem Grunge der MELVINS oder GREEN RIVER mit BLACK SABBATH in der Ozzy-Ära und dem modernen Sound von Kim Salmons eigenen SCIENTISTS oder SURREALISTS.













[m] PUNK FATWA/AXES OF EVIL SEGUE INTO CHEAP'N'NASTY [LIVE] 04:40





[s] CHEAP'N'NASTY SEGUE INTO LICENSED 2 ROCK [LIVE] 02:30
[t] S.M.R [LIVE] 01:20
[u] THE AXES OF EVIL [LIVE] 03:34

When the Amsterdam singer-songwriter Jana Mila (pronounced Yah-nuh
MEE-lah) began writing a song called "Chameleon," she thought she was
writing about someone else--a friend who seemed to be changing her
colors to please other people "But the more I lived with the song, the
more I felt like I was writing about myself," she admits "Doesn't everybody
try to reflect other people? Don't I change my own colors in order to be
accepted? Especially when you're young, you can lose yourself in other
people if you don't know who you are"
That is the central idea behind her debut album, also titled Chameleon, which
introduces Mila as an artist deeply committed to self- reckoning and selfpossession. Our innate desire to belong and to be loved can lead to a kind of selfannihilation, making us strangers to ourselves. Writing songs is her means of
finding and sustaining her identity."The album is a conversation with myself, a
way of getting to know myself better. There are little fears woven into every lyric,
but there's also advice to myself. I'm writing to find a part of myself that has
some wisdom."
Musically, Mila is the best kind of chameleon. The album draws from a wild array
of sources, entertaining new ideas on every song: dusty Laurel Canyon folk on
"It's True," catchy Nashville country on "Let Me In," driving '70s rock on "I Wasn't
Gonna." She puts her stamp on every note, turning those fears into an album of
remarkable confidence, eloquence, and power. Chameleon is a self- portrait
rendered in vibrant detail.

“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, Midas rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.
In late 2022, the release of their debut album Cub saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance followed tours with Pixies and Fontaines D.C. and stadium appearances with Sam Fender, signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.
With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put In Utero to tape and PJ Harvey recorded the Mercury Prize-nominated Rid of Me – was to push themselves outside of their comfort zones.
“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.

THE PINEAPPLE THIEF'S FIFTH ALBUM 'LITTLE MAN' REMASTERED &
REISSUED WITH 3 BONUS TRACKS.A vein of melancholy runs throughout
The Pineapple Thief's fifth studio album 'Little Man'
nspired by the theme of loss, 'Little Man' was the first Pineapple Thief album to
ruly establish the band on the musical map, earning them the support of the
Kscope label & endorsements from prog figurehead Steven Wilson (Porcupine
Tree) to boot. Now remastered by revered mastering engineer Steve Kitch, this
vinyl edition of 'Little Man' delivers an immersive & definitive, listening experience.
An astounding emotional, atmospheric and satisfying piece of art." 5/5 Sputnik
Music
The Pineapple Thief were formed in 1999 by founder & chief songwriter Bruce
Soord & have since released a total of 16 studio albums, 6 EP's & several live &
compilation albums. The lineup now includes Gavin Harrison of Porcupine Tree/
King Crimson following his permanent joining for 2018's 'Dissolution'. In February
2024, The Pineapple Thief released the critically acclaimed 'It Leads To This'
which reached #2 in the UK Independent Albums Chart.
This edition of 'Little Man' is presented as a CD digipack with 4- page printed
booklet & includes 'Dead In The Water', 'God Bless The Child' & live favourite
Snowdrops', plus 3 acoustic bonus tracks.

Wilson Simonal and Trio Mocotó provide a double dose of Brazilian classics for this Brazil 45’s 7 inch.

First up, an infectious, samba-MPB hit from one of Brazil’s most popular artists of the ‘60s and early ’70s, Wilson Simonal. Originally released on 7 inch by Odeon in 1967 and landing on Simonal’s Alegria, Alegria !!! album in the same year, ‘Nem Vem Que Nao Tem’s fame had a new lease of life in 2002 when it was used as part of the soundtrack to the critically acclaimed film, ‘City Of God’.

On the B side, one of Jorge Ben’s main backing bands and a group that was highly influential to his sound, Trio Mocotó. Alongside recording with Ben on the seminal Força Bruta, Negro É Lindo and Tábua de Esmeralda LPs, they were also key figures in the development of the samba rock sound – a fusion of samba, soul and rock influenced by music from the USA.

First appearing on Trio Mocotó’s self-titled 1977 Arlequim LP, ‘Nao Adianta’ is a dynamic orchestral-infused gem, laced with that sun-kissed, samba flavour.

Remastered with refreshed artwork.

Introducing ‘Total Blue’, the Los Angeles-based trio of Nicky Benedek, Alex Talan, and Anthony Calonico. Despite collaborating for over a decade, ‘Total Blue’ represents a new chapter in their artistic journey together as a trio.

Embracing chance, inviting the unknown, and guided by a spirit of sheer play and exploration, ‘Total Blue’ was driven by a desire to ‘touch the beyond’ in pursuit of an elusive vibe the three had been chasing for years.

Alex, Nick, and Anthony envision ‘Total Blue’ as the all-encompassing full picture, a place where the real and the imaginary begin to blur; a destination reached not through escapism but by expanding one's perspective; a widened scope of vision where personality both shines and disintegrates.

Across the album, their mission statement is expertly achieved with subtlety and delicate human touch; painting with a lush palette of digital synths, Akai EVI wind synthesizer, fretless bass, and guitar, the trio masterfully balance texture and color, evoking wide expansive vistas that stretch from Los Angeles right out to the furthest reaches of sky and sea. This is ‘Total Blue’ - a place of time and timelessness where echoes of history and tradition merge with rootless inhuman sonics.

Art and design by Michael Willis.

As a true Brazilian music aficionado, Skinshape was naturally captivated by Pedro Mizutani's charm. So, when Pedro visited Europe in the summer of 2023, Skinshape invited him to its London studio. Together, magic effortlessly unfolded.

Pedro sets the rhythm, while Skinshape sets the grain. With Skinshape weaving in basslines and other arrangements around Mizutani's mesmerizing guitar playing, the collaboration was a breeze. The two musicians understood each other in the blink of an eye.

Together, they crafted a true homage to bossa nova. Without overshadowing Mizutani's style, Skinshape brought out his full musicality. It was a seamless symbiosis. The duo created a one-of-a-kind work. In the spirit of the Afrobeats movement, one could even describe it as "bossa-pop," maintaining the essence of the genre while incorporating British aesthetic elements under Skinshape's discerning ear. A sprinkling of shimmering bells here, kicks dipped in reverb there, and jazzy basslines for that extra touch of groove. As for Pedro Mizutani, he excelled in delicacy as always and did not lose altitude, soaring to even greater heights.

Das Erlebnis, Mutter zu werden, prägte LIFE, die neue farb- und kontrastreiche Aufnahme der norwegischen
Geigerin. Samuelsen ist bekannt für ihre fantasievolle Programmgestaltung. Hier reflektiert sie musikalisch
in virtuosen Interpretationen über die unterschiedlichen Gefühle, die mit Elternschaft einhergehen können. Das Album präsentiert Musik von Olivia Belli, Bryce Dessner, Ludovico Einaudi, Nils Frahm, Jóhann
Jóhannsson, Mário Laginha, Hania Rani, Max Richter sowie Steve Reich, und auch Schubert findet sich
im Mix. Samuelsen wird auf dem Album von Musikerkollegen begleitet, darunter die Streicher von Scoring
Berlin unter der Leitung von Jonathan Stockhammer.
Die Idee zu LIFE kam Samuelsen nach der Geburt ihres ersten Kindes. Als sie mit ihrem zweiten Kind
schwanger wurde, nahm der Gedanke Gestalt an. Die Magie ihres leidenschaftlichen Spiels verbindet die
elf Titel, die junge Eltern ebenso ansprechen wie Menschen, die sich an die eigene Kindheit erinnern. »Ich
mache Musik, weil ich Geschichten erzählen will«, sagt Samuelsen. »Zwar sind es persönliche Geschichten,
aber ich möchte, dass sich so viele Menschen wie möglich darin wiederfinden.«

Formed back in 2011 in Savannah, GA, Triathalon consists of Chad Chilton, Hunter Jayne and Adam Intrator. Over the years the band has experimented with multiple sounds, releasing 3 albums, one EP and has shared collaborations with several artists. Their newest release "Sleep Cycle" blends fresh but familiar sounds; there's a meditative quality to the music that is especially welcoming in the current climate. Mastered by long time collaborator Alex Previty, a few of the tracks across the EP have mantra-like lyrics - simple thoughts repeated over and over that twist and turn and slowly morph into subtle ear worms.

Issued on vinyl for the first time and pressed on 2 x 140g black vinyl, Juno Reactor’s 2004s album, ‘Labyrinth’, their 6th long player. Ben Watkins is an essential innovator of modern electronic music and a pioneer of Trance. Over the course of nearly 30 years, Watkins has created a unique driving fusion of electronica, orchestral and global music executed on an epic & symphonic scale. Juno Reactor was formed as an art project in 1990. Ben Watkins wanted to collaborate with other artists, producing exciting projects that were not commercially driven. He wanted to create experimental music and non-musical soundtracks that would work with installations, art pieces, and film projects. Labyrinth ranges from orchestral, industrial, and techno as well as containing Juno Reactor's trademark tribal sound (possibly as best featured in Conquistador II). The album also features two songs from Watkins' collaboration with The Matrix composer Don Davis on the films The Matrix Reloaded and The Matrix Revolutions, "Mona Lisa Overdrive" (from Reloaded) and "Navras" (from Revolutions). As well as releasing a string of influential albums as Juno Reactor, Watkins’ tracks have been placed in numerous highprofile feature films, television programmes and computer games and Ben Watkins composed large sections of the original score for the films The Matrix Reloaded and The Matrix Revolutions, as well as composing the entire orchestral score for Japanese anime feature film Brave Story.

Mit seinem Soloprojekt Konstantin Unwohl veröffentlichte der in Hamburg lebende Künstler Korbinian Scheffold in den vergangenen Jahren einige Kassetten.

2021 erschien das Debütalbum Im Institut für Strömungstechnik über das Berliner Label aufnahme + wiedergabe. Darauf perfektionierte er seinen

musikalischen Stil; eine Mischung aus minimalistischem Darkwave und kontemporärem Synth-Pop. Mit Neuer Wall, seinem ersten Album auf Tapete Records, legt Unwohl nun

seine zweite, komplett in Eigenregiekonzipierte, geschriebene und produzierte LP vor.

Auf seinem neuen Album Sun Glories erkundet der in Oakland lebende Musiker, Komponist und Produzent Chuck Johnson Themen wie Zeit, Erinnerung und Illusion durch seine einzigartige Mischung aus Pedal Steel, Synthesizern, Gitarren, Orgeln, Streichern und Schlagzeug. Der Eröffnungstrack "Teleos" erforscht die linearen und zyklischen Qualitäten der Zeit durch episodische Abschnitte und Motive, die die bittersüße Erleichterung und Nostalgie heraufbeschwören, die mit der Ankunft des ersten warmen und sonnigen Tages nach einem langen, dunklen und regnerischen Winter die Sinne überfluten. Das gitarrenbasierte "Sylvanshine" fängt einen Moment zwischen Improvisation und aufkeimender Komposition ein, mit einem strahlenden Gastbeitrag des elektroakustischen Saxophonisten Cole Pulice. Bei "Ground Wave" greift Johnson auf die Kompositionstechnik zurück, ein kleines Streicherensemble in Wolken aus Pedal Steel zu verweben, ähnlich wie bei "Red Branch Bell" von seiner 2021 erschienenen LP The Cinder Grove. "Wenn das Pedal-Steel-Solo bei etwa 3:30 einsetzt, wollte ich, dass es sich anfühlt, als würde der Boden unter den Füßen des Zuhörers plötzlich verschwinden." Um seine Vision zu verwirklichen, arbeitete Johnson mit der Cellistin Clarice Jensen und der Geigerin Emily Packard zusammen, die beide mehrere Stimmen übereinander legten, um ein virtuelles Kammerensemble zu schaffen. Das Album schließt mit "Broken Spectre", einer Anspielung auf einen Begriff, der eine geisterhafte optische Täuschung beschreibt, die dadurch entsteht, dass sich das Sonnenlicht über einen nebel- oder wolkenverhangenen Berg beugt. Wieder einmal bauen sich Johnsons herrliche Pedal Steel-Melodien zu einem hypnotischen Strudel auf, der mit Ryan Jewells hymnischem Schlagzeugspiel ein episches Gefühl der Erhabenheit entwickelt. Wenn sich der Nebel lichtet und die Sonne durchbricht, hinterlässt dieser letzte Track ein Gefühl von Hoffnung und Entschlossenheit.

Nonesuch Records releases Laurie Anderson’s Amelia, the 2024 Grammy Lifetime Achievement Award recipient's first new album since 2018’s Grammy-winning Landfall. The record comprises 22 tracks about renowned female aviator Amelia Earhart’s tragic last flight. Anderson, who Pitchfork says, ‘sees the future, but she starts by paying attention’, wrote the music and lyrics for this subjective narrative piece. On the album, she is joined by the Czech orchestra Filharmonie Brno, conducted by Dennis Russell Davies, and Anohni, Gabriel Cabezas, Rob Moose, Ryan Kelly, Martha Mooke, Marc Ribot, Tony Scherr, Nadia Sirota, and Kenny Wolleson.



Earhart was a passionate pioneer of early aviation, achieving fame as the first woman to cross the Atlantic, in 1932. Five years later, she embarked on a flight around the world. Before she could complete the voyage, her plane disappeared without a trace; it has never been found. “The words used in Amelia are inspired by her pilot diaries, the telegrams she wrote to her husband, and my idea of what a woman flying around the world might think about,” Anderson says. First premiered at Carnegie Hall in 2000, the updated piece was recently performed across Europe.



Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but ... that doesn’t begin to describe what she creates. Her work isn’t sold in galleries. It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life,’ and the Guardian has called Anderson ‘one of the great popular artists and storytellers of our time.’



Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.



Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date. Anderson recently toured with Sex Mob, performing her piece Let X=X. Earlier this year, she was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson.



Nonesuch released a re-mastered edition of Anderson’s landmark 1982 album Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; its beloved single, ‘O Superman’, became a surprise viral hit on TikTok earlier this year.

Crystal clear vinyl, limited to 200 copies. HEBI KATANA's 3rd full album, known as "Tokyo Samurai Doom"! The classic doom riff and mellow and dark melody reminiscent of THE OBSESSED and TROUBLE have become a hot topic mainly overseas. Both works have been released on CD/LP/cassette by domestic and international labels. Their dark yet melodious doom sound attracted attention, especially among doom/stoner enthusiasts around the world. This work, which is the third album, maintains the classic doom/hard rock sound that has been created up to now, but it also has a strong jam feeling honed through expeditions including overseas tours, and the band ensemble is truly impressive. It is a work of art. Coupled with member changes, the content gives a sense of significant growth and progress. In addition, the songs created through collaboration with seasoned live acts have a more vivid finish. Through songwriting that involves everyone's participation, each band's colors and characters are strongly reflected, and it can be said that the band is exploring a unique sound based on the doom/stoner sound. "Hallelujah Anyway" is a straightforward attack with a classic heavy riff and mellow chorus, "Depressed Blues" is a combination of a mid-tempo heavy riff and dark vocals In the second half, "Darkest Priest" develops into a more doomy shuffle boogie, and "Lost" drifts from a dark arpeggio-driven melody to a heavy and sinking development, and the songs included are rich and fulfilling. The yellowtail is something to behold. The rapid advance of "Tokyo Samurai Doom" begins now!

Isabel Roberts mid-80s stand-out singles from the Hot Vinyl stabel reissued for the first time back-to-back on one 12". UK electric-boogie-synth-funk essentials on limited 12" as part of Backatcha's 'Hot Vinyl' reissue series.

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.

Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in many of Frankie’s productions. Having both worked together for many years they established themselves as ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purposed classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music.

For the third volume classic cuts such as Inaya Day & Robin S. - Right Now (A Director’s Cut Master) and Marko Militano - Good People (Director’s Cut Signature Mix) are nestled alongside equally absorbing Directors Cut mixes of Vintage Lounge Orchestra covering 'Dreams' and Art Department pres. Martina Topley Bird feat. Mark Lanegan & Warpaint covering 'Crystalised'.

The Director’s Cut Collection is a fitting tribute to commemorate the seventh anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.



DJ Feedback:

Dixon - 5/5 - "Classic"

The Black Madonna - 5/5 - "Love you Frankie!!!"

Laurent Garnier - 5/5 - "“niiiiiiiiiiiiiiiiiiiiiiiiice OHHHH SOOOOO NIIIIIIIIIIIIICE !!!!!”

Honey Dijon - 5/5 - "Iconic!!!!!!"

Axel Boman - 5/5 - "It's all about love - not about emotions!!!!

Adam Beyer - 5/5 - "<3"

Space Dimension Controller - 5/5 - "Always"

Tensnake - 5/5 - "Classic Love It"

Jonny Rock - 5/5 - "Hot!!!"

Prins Thomas - 4/5 - "very nice! fresh take on an all-time classic"

Len Faki - 5/5 - "It's been a while listening to this masterpiece - and yes - it's timeless and I love the new touch on the new version. thanks Frankie!"

robdabank (Radio 1) - 5/5 - “One of my all time faves and great mixes here!”

Severino Panzetta (Horse Meat Disco) - 5/5 - "OH YASS!!"

Matthias Tanzmann - 5/5 - "Can't believe it has been five years already. Legendary

Michael Serafini - 4/5 - "Excellant Retouch on this!!!"

Ease-Nightmares On Wax - 4/5 - "Timeless classic for a true legend RIP x"

Timo Maas - 5/5 - "well...classic!"

Tiefschwarz - 5/5 "bless Frankie Knuckles!!"

Red Rack'em - 4/5 - "Love this new version. Really tasteful. Well done!"

Our multi-talented musician and producer Lay-Far once in a while takes a break from producing for editing long forgotten gems that need a little retouch.

Here at GAMM we're of course much in favour of this direction, especially when he delivers the goods as with this sunny release.
On the the A Side Lay-Far takes on a classic Nu-Yorican jazz-funk-disco jam with big strings and a killer fender grooves loop.
On the B, it's time to brush off a killer Japanese jazz-funk-disco winner that's been a big tune on the rare groove scene since the 90's...thumpin’ !!

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.

Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

Mazandaran was born from an idea to make protest music that shone a light on the experience of the Iranian diaspora, many of whom were displaced by the current regime. All members share Iranian heritage and the lyrics and imagery speak of the ancient Persian mythology of The Shahnameh, with passages about the legendary hero Rostam slaying the Div-e Sepid, or White Demon, and overcoming evil. Musically, the band delve into the deep and rich history of Japanese and Skandinavian hardcore punk of the 80s, as what better type of punk is there to make you feel like you are battling demons and about to fuck shit up? Dedicated to the brave women and men of Iran suffering 44 years of oppression from the current theocratic, fascist, and fundamentally anti-Iranian regime occupying our ancestral home.

Farbige Vinyl-Neuauflage des vierten Mixtapes von Mac Miller, das zuerst 2010 gratis im Internet kursierte und erst Anfang 2020 auf allen Streaming- und Download-Portalen kommerziell veröffentlicht wurde. Es folgte die physischen Formate Black Vinyl 2LP und MC. Der Titel ist eine Abkürzung für "Kickin' Incredibly Dope Shit" und bezieht sich auf den Coming-Of-Age-Film "Kids" (1995), der während des gesamten Mixtapes mehrfach zitiert wurde. Seite D ist unbespielt.

On ALPHA WAVES, AUX88 ventures into uncharted sonic territories by subtly incorporating 432 Hz alpha wave tones. This forward-thinking approach to sound exploration is a testament to their creativity and commitment to pushing the boundaries of electronic dance music.

It is believed that 432 Hz is the healing frequency of the universe and has the power to improve our bodies' natural healing abilities. Similarly, alpha brain waves are associated with restful, meditative states and are believed to reduce depression, combat anxiety, and increase creativity. By blending these healing frequencies with their classic techno-bass fusion, AUX88 offers listeners a unique auditory experience that is both soothing and energizing, especially powerful during their all-sensory-consuming live performances, where fans can fully immerse themselves in the music and experience its transformative effects.

Introducing Risorsa Elettronica 002, featuring the exceptional talent of Agostino Casillo, a distinguished music producer and our esteemed friend.

This EP showcases a fusion of diverse styles, ranging from techno and electro to progressive and breakbeat. Limited to just 300 copies, each track promises a captivating journey

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

Bluets' debut on Kimochi Sound seamlessly integrates into the label's well established and distinctive style. This one, with a hand-sprayed sleeve as always, opens with "if you can imagine," a confident bit of microhouse that mixes rich melodies and a lively bassline. 'Action Potential' echoes RDMA's aesthetic with its precise beats and on the B-side you will find a vaporous melody that weaves through sparse downbeat house grooves to make for a dreamlike atmosphere. Closing the EP, 'Buong Bilog' features distorted IDM rhythms and a poignant refrain that balances twitchy textures with melancholic tones. This carefully crafted release bridges home-listening electronics with dancefloor clout.

American Standard beginnt mit einem Schock. Sänger Michael Berdan steht allein und schreit: "A part of me, but it can't be me. Oh God, it can't." Alles beginnt mit einem Geständnis. Hinter den erschütternden Schreien verbirgt sich der Schmerz der Bulimia nervosa. Es ist der Schmerz einer Krankheit, die ebenso physisch wie psychisch ist. Dies ist eine Art von Aufbruch. Mit jedem Satz von American Standard schält Uniform eine neue Schicht ab und erzählt die Geschichte im Inneren der vorhergehenden. Die Texte dringen in den Kern des innersten Selbst ein, in das kleine menschliche Wesen, das im Griff der Krankheit zerquetscht wird. Um diese Geschichte von Essstörungen, Selbsthass, Wahnvorstellungen, Manie und letztendlicher Entdeckung zu entschlüsseln, holte sich Berdan Hilfe von zwei überragenden literarischen Außenseiterfiguren. Zusammen mit B.R. Yeager (Autor des modernen Kult-Klassikers Negative Space) und Maggie Siebert (dem Kopf hinter dem zeitgenössischen Body-Horror-Meisterwerk Bonding) nehmen die drei Autoren das persönliche Material auseinander, um ein Porträt psychischer und physischer Krankheit zu präsentieren, das so eindringlich und erschreckend ist wie nichts anderes im heutigen Kanon. Das Ergebnis ist eine akkurate Artikulation eines Zustands, der über einfache Qualen hinausgeht, und fängt die aufregende Transzendenz und Befreiung ein, die Krankheit in diesem Prozess bringen kann. American Standard ist mit Sicherheit das thematisch gelungenste und musikalisch selbstbewussteste Album von Uniform, das es bisher gab. Abschnitte drehen sich und explodieren. Motive driften ins Ungewisse ab, bevor sie sich mit neuer Kraft wieder durchsetzen. Genres kollidieren und brechen auf und formen etwas Eigenwilliges und Neues. Es gibt eine Größe, die zum Teil auf die Hinzufügung des Interpol-Bassisten Brad Truax zurückzuführen ist, zusammen mit dem perkussiven Druck und Zug des zurückkehrenden Schlagzeugers Michael Sharp und des langjährigen Tour-Schlagzeugers Michael Bloom, der hier sein Uniform-Aufnahme-Debüt gibt. Diese Großartigkeit ist jedoch ganz klar der Größe und Kraft der Arrangements von Gitarrist und Gründer Ben Greenberg zuzuschreiben, die immer elegant zu den intensiven lyrischen Themen passen. Ohne den geringsten Zweifel ist American Standard ein Kunstwerk, quälend in seiner Ehrlichkeit und unerbittlich in seinem Streben nach klanglicher Transzendenz. Es ist abscheulich. Es ist wunderschön. Es ist notwendig.

Die färöische Folk-Singer/Songwriterin EIVOR bringt mit ,Slor" bereits ihr zweites Studioalbum innerhalb eines Jahres raus. ,Slor" ist eine Sammlung neu komponierter Songs, die EIVOR in ihrer Muttersprache - färöisch - eingesungen hat. Das Album ist der Nachfolger des englischsprachigen Albums ,Bridges". Und auch wenn es sich um zwei unterschiedliche Alben in unterschiedlichen Sprachen handelt, gibt es eine Verbindung der beiden Platten. Wo ,Bridges" leicht und vor allem sehnsüchtig war, klingt ,Slor" eher rau und reflektierter. ,Bridges" wurde von Freundschaft, Liebe und Heimweh inspiriert. Es thematisiert die Brücken zwischen uns, Beziehungen zwischen Menschen, Plätzen und auch Dingen, die uns berühren. ,Slor" hingegen gibt sich der Fernsucht hin, thematisiert Trennungen und die Suche nach Frieden. Ein Schleier kann ein Symbol für eine Grenze zwischen Gegenwart und Vergangenheit sein, doch ein Brautschleier hingegen repräsentiert vor allem Glück und Hingabe. EIVOR selbst erklärt den Prozess der Geschwisteralben: ,Als ich die Songs geschrieben haben, erfolgte das Songwriting erst auf Englisch und direkt danach kam es auf Färöisch in meinen Kopf - wie eine Art Spiegelbild." Somit handelt es sich nicht nur um zwei voneinander getrennte Werke, sondern auch um einen zusammengesetzten Moment im Songprozess.

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

2022 entstand Dimbild als halbakustisches Nebenprojekt des renommierten Musikers Vintersorg, das die folkige Seite seiner Reise in vollem Umfang
einbezieht und die intensiven Metal-Kompositionen des Hauptacts außen vor lässt. Es ist etwas, das seit Jahren wächst, aber im Jahr 2022 nahm es
seine eigene Form an. In Abkehr von der unerbittlichen Energie des Metal verfolgt Dimbild einen gedämpfteren und introspektiveren Ansatz beim
Musikmachen. Das Projekt ermöglichte es Vintersorg, eine andere Facette seines künstlerischen Ausdrucks zu erforschen und tiefer in die Gefilde der
Folk- und Akustikmusik einzutauchen, in die ein Hauch von Melancholie eingeflochten ist. Die Musik von Dimbild, die sich von der Natur, der
Mythologie und existenziellen Themen inspirieren lässt, entführt den Hörer in eine andere Welt, in der sich Emotionen mit den Klängen von
Akustikgitarren, Perkussion und dem markanten Gesang von Vintersorg vermischen.

In über 35 Jahre haben Vibravoid 22 Studio Alben, zahllose Live Alben, Singles und EPs veröffentlicht, die Spitzenpositionen erreichten. "Live At Finkenbach 2015" schaffte es auf Platz 2 der offiziellen Vinyl Verkaufscharts. Bereits im Jahre 1988 gründete Psych Aktivist Dr. Koch die Light Show Society Düsseldorf. Bereits in den frühen 1990er Jahren entwickelte sich Vibravoid als einflussreichste neue Gruppe aus Düsseldorf. Zum Beispiel wurde Vibravoid in der Frühphase des Stoner Metals und der damit einsetzenden falschen Benutzung des Begriffs "Psychedelic" zu vielen Stoner- Festivals geladen. Zum Erstaunen des Publikums präsentierten Vibravoid Songs von Syd Barrett´s Pink Floyd, Silver Apples, CAN oder den Beatles, die den Stoner-Jüngern zu dieser Zeit nicht bekannt waren und als Songs von Vibravoid interpretiert wurden. Vibravoid hat es immer abgelehnt als "Stoner Band" vereinnahmt zu werden. Als Kinder der Flower Power Generation haben Vibravoid von der ersten Welle des Psychedelic und Kraut Rock gelernt, denn was heute als "Psych- und Krautrock" vermarktet wird,gab es damals noch nicht und musste von Bands wie Vibravoid erfunden werden. Im Jahr 2008 nahmen Vibravoid mit dem legendären Flower Power Erfinder Sky Saxon (The Seeds) nicht nur sein letztes Album auf, sondern zugleich auch das Testament einer ganzen Generation.Die Karriere von Vibravoid ist einzigartig, denn trotz ihres Erfoges ist Vibravoid immer noch Underground.

Der aus Pittsburgh stammende Montell Fish ist ein Multiinstrumentalist, Produzent, Sänger und Komponist, der sich auf die Entwicklung von Projekten konzentriert, die Welten schaffen. Montells unvoreingenommene Herangehensweise an das Songwriting erlaubt es den Zuhörern, sich in seiner Welt willkommen
zu fühlen, in der er der Autor, Regisseur und Star ist. Charlotte ist das mit Spannung erwartete Nachfolgealbum des JAIME-Albums von 2022 und der zweite Teil seiner Jaime, Charlotte, Marshall-Album-Trilogie.
Mit jeder Veröffentlichung hat er einen mehrschichtigen Turm aus Referenzen und Metaphern aufgebaut,
der mit den Ängsten eines begabten jungen Menschen schwankt, der die Widersprüche der Welt in Einklang
bringen will: in der Liebe, in der Religion, in der Kunst und im Glauben. Es ist die Art von Musik, die
intensive Gefühle und Fangemeinde hervorruft. Auf seinem neuesten Album Charlotte, dem Nachfolger
seines Durchbruchsalbums Jamie aus dem Jahr 2022, denkt Fish gerne über die großen Fragen des Lebens
nach: Wie prägt die Kindheit einen Menschen? Was bedeutet es, eine Gabe zu haben, zu der die Welt
Zugang haben will? Fish, der in einem streng religiösen Haushalt aufgewachsen ist und nun selbst in der
Welt unterwegs ist, um seine Kunst zu machen, hat eine grenzenlose Neugier auf die Art zu leben und zu
schaffen. Charlotte ist sein bisher vollendetstes Projekt, der Klang eines Generationstalents, das in seine
Kraft tritt.

Sabrina Carpenter meldet sich zurück mit ihrem nächsten Studioalbum „Short N‘ Sweet“. Die Newcomerin,
die in den USA bereits bereits ihren Durchbruch hatte, bewies mit ihrem Sommer-Hit “Espresso“, dass sie
auch in Deutschland das Zeug zum Popstar hat. Ihr Album “Short N‘ Sweet“ inklusive des Hits “Espresso“
ist nun erhältlich als CD & Viny.

Man könnte meinen, das musikalische Erbe der 1960er-Jahre sei bis zur Erschöpfung gefeiert worden (und da hätte man recht), und dennoch, und was noch erstaunlicher ist, werden die Pretty Things unter all den großen bahnbrechenden britischen Bands dieser Zeit immer noch routinemäßig unterschätzt und unterschätzt oft übersehen.Mit ihrer einzigartig rauhen Interpretation des R&B-Repertoires legten die Pretties die Vorlage für einen Sound, der später als ,English Freakbeat" bezeichnet wurde, und gingen in einer Ära der beispiellosen Pop-R/Evolution hin zu Psychedelia und darüber hinaus immer an die sprichwörtlichen Grenzen, indem sie wohl die ersten schrieben und aufnahmen und möglicherweise die beste Rockoper in ihrem Meisterwerk S.F. Sorrow (and what about Parachutes then?).In diesem Jahr jährt sich ihr Debüt ,Rosalyn" zum 60. Mal, was ein guter Vorwand zu sein scheint, ihr Vermächtnis mit einer Tribute-EP zu feiern. Doch anstatt die Klassiker abzudecken, haben sich die vier hier versammelten Psych-Pop- und Mod-nahen Künstler, Bandkollegen und Gare du Nord-Mitarbeiter dafür entschieden, in die weniger bekannten Tiefen des Pretty Things-Katalogs einzutauchen:Der Produzent und Multiinstrumentalist Andy Lewis spielt ,Walking Down The Street" aus den Electric Banana-Sessions von 1967. Der Pariser Popmeister Popincourt übernimmt ,You Don't Believe Me" aus dem Pretties-Album "Get the Picture" aus dem Jahr 1965. Dann ist da noch Ian Buttons ,Papernut Cambridge", der sich der seltsamen Stop-and-Go-Seltsamkeit des Kult-Pop-Juwels ,Defecting Grey" stellt, während Canterburys eigener kontinentaler Pop-Korrespondent Robert Rotifer ,House of Ten"von der häufig vergessenen, aber allgemein glorreichen Kammerpop-LP "Emotions" von 1967 einen Besuch abstattet.,Das ist ein großes Kompliment an die Band", schrieb Dick Taylor, Gitarrist der Pretties, als er um Zustimmung zur Veröffentlichung gebeten wurde, was alle seine Fans bei Gare du Nord Records sehr glücklich machte.,House of Four" (VÖ: 23.08.24/Gare du Nord) wird in einer limitierten Auflage von 300 Exemplaren als 10" EP mit 45 U/min (und digital) erscheinen, mit einer zusätzlichen Postkarte mit dem von Robert Rotifer liebevoll gezeichneten Puppenhaus-Covermotiv. Es ist ein anglo-französisch-österreichisches Cross-Continental kulturelles Unterfangen zu Ehren einer großartigen britischen Band, die sechs Jahrzehnte später immer noch kein bekannter Name ist (außer in den besten Haushalten), es aber immer verdient hat.Schade nur, dass Phil May nicht mehr da ist, um es zu hören ...

Leonardo Del Vita and vocalist Sabrina Anselmi, epitomized the sun-soaked italo grooves of the 1980s. This short-lived group unleashed only a handful of singles between 1985 and 1988.

Their debut single, “Sombrero” surfaced in 1985 as a promo-only 12” on the Roman label LGO, in exceedingly limited quantities, garnered relatively little attention.
Fast forward nearly four decades, it has become one of the most coveted Italo 12”s, fetching exorbitant sums in collector’s circles.

“Sombrero” stands out among aficionados of obscure Italo-disco, embodying a distinct vein: that of summer-themed tracks. With its tantalizing blend of airy arpeggios, Juno 60 synth lines and bass, punchy percussions adorned with claps, DX 7 cowbells and a seductive saxophone solo. “Sombrero” has it all to seduce new discerning listeners, also thanks to the infectious alternating vocals in English and Spanish, featuring hilariously sultry hooks such as “Te quiero, Sombrero!” or “I love muchachas!”

Disco Segreta fulfils another Italo disco dream by reissuing this absolute gem for a broader audience, presented in a meticulously remastered 12” edition featuring the original vocal and instrumental versions, along with the stellar “Estate Dub” by the Chilean-Swedish maestro of Italo-disco, Claudio Burgos, aka Mr. Fantasy, which we are sure will become an absolute dance classic.

Sombrero, te quiero!

Endlich erscheint das gefeierte 2019er Album als luxuriöse Doppel-LP!
Auf den 12 Tracks von 'The Situation' das zusammen mit seinen langjährigen Freunden und Wegbegleitern Kuma Harada, Walter Latupeirissa (beide Bass) Max Middleton (Keys), Juan van Emmerloot und Jeff Allen (beide Drums) entstand, erleben wir den Bluesmeister einmal mehr in Höchstform.

Der muntere Opener und Namensgeber des Albums lädt verheißungsvoll ein. In seinem unnachahmlich zurückhaltenden, "understated" Stil beleuchtet Snowy auf den folgenden Tracks unterschiedlichste Lebenslagen, stets untermalt und kommentiert von seinem markanten Gitarrenspiel. Das Ergebnis ist ein reifes, in sich schlüssiges und immens zufriedenstellendes Album.
Das erstmalig auf Vinyl erscheinende Album kommt als 180Gr. Doppel-LP mit Lyric-Sheet, wattierten Innenhüllen und markantem Spotlack-Effekt im Artwork, bei dem das Hauptelement herausgestellt wird. Die edle LP-Version ist streng limitiert auf 500 Stck.

Die Presse schrieb zum CD-Release:
Rock Hard 7.5/10: "Auf "The Situation" (Snowy White/Soulfood) begeistert der passionierte Les-Paul-Spieler einmal mehr mit einem wunderbaren Solo-Ton, aus seiner rauen, zerbrechlich wirkenden Stimme spricht darüber hinaus die pure Lebensweisheit. Geschmackvolles Blues-Album von einem Mann, der nichts mehr beweisen muss, es aber trotzdem tut."

Guitar 4.5/5: "…zwölf fantastische und lebhafte groovende Nummern…"

Good Times: "Starke Refrains, eingängige Melodien, reichlich Energie…"

Jazz Thing: "…eine Menge guter, von einer gewiss auch altersbedingten Nachdenklichkeit geprägter Songs. Sehr schön."

Break Out: "Eine Platte in die man ganz tief versinken kann."

Rocks 8.5/10: "White führt ein exzellentes Bluesrock-Dream-Team an…"

Classic Rock 7/10: "Eleganter Soft- und Bluesrock…"

eclipsed 8/10: "Grandiose Musik für ruhige Momente, die durch die warme und organische Einspielung gewinnt."

Legacy 12/15: "Auf jeden Fall ist Snowy & Co. ein hochwertiges Genre-Album gelungen, dessen zusätzlicher Reiz es ist, eben über die Grenzen dieses Stils hinauszuwachsen!"

Zusammen mit Bands wie Hans-A-Plast und Der Moderne Man gehören Rotzkotz Anfang der 80er zum Umfeld von No Fun Records, einem hannoverschen Label aus der linksalternativen Szene. Zunächst spielen sie klassischen Punk-Sound, den sie auf ihrem zweiten Album um elektronische Sounds und teils dadaistisch anmutende Texte ergänzen: Mit Lebensfroh + Farbenfroh veröffentlichen sie so 1981 eines der spannendsten Alben der alternativen deutschsprachigen Musik der 80er Jahre. Gute 40 Jahre später wird das Album jetzt inklusive der zwei Songs der "Kein Problem"-Single (ein kurzer Ausflug zum Major EMI) wiederveröffentlicht - neu gemastert und ergänzt um ausführliche Linernotes sowie bisher unveröffentlichtes Bildmaterial. Zwischen Punk und Avantgarde, zwischen elektronischen Sounds und digitaler Dystopie, zwischen Majorlabel-Deal und No Fun Records, zwischen 70ern und 80ern - Rotzkotz sitzen zwischen allen denkbaren Stühlen und schaffen es dabei, mit Farbenfroh + Lebensfroh ihre Nische auf eine auch heute noch außergewöhnliche Art zu besetzen.

"Heile Heile Boches" erschien 1989, im Jahr des Mauerfalls. International gab es zwar Hip Hop, Crossover, Hardcore und Alternative-Punk; in Deutschland lediglich deren Simulation oder Imitation, und außer einem inzwischen längst redundanten, wenn auch unverwüstlichen Deutsch-Punk nur wenig, das in der Musik als Bollwerk gegen den neu aufkeimenden Nationalstolz hätte dienen können. Aber es gab die Kolossale Jugend. Seit jeher am reingrätschen, nerven, ständig sich austauschend, vorantreibend und völlig immun gegen Versuche der Politik, Wirtschaft und Volksgemeinschaft sie für die heraufbeschworene Pop Nation Deutschland zu vereinnahmen. Schicksalsjahre einer Kaiserin: die Wendezeit.

The latest full-length from Kishi Bashi, Kantos is a work of exquisite duality: a party album about the possible end of humanity as we know it, at turns deeply unsettling and sublimely joyful. In a sonic departure from the symphonic folk of his critically lauded 2019 LP Omoiyari - a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II - the Seattle-born singer/songwriter/producer's fifth studio album encompasses everything from Brazilian jazz and '70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-'80s). Informed by an equally kaleidoscopic mix of inspirations - the cult-classic sci-fi novel series Hyperion Cantos, the writings of 18th century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete - Kantos ultimately serves as an unbridled exaltation of the human spirit and all its wild complexities. During the earliest stages of creating songs for the album, Ishibashi's main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a prompt - a turn of events that quickly catalyzed the existential inquiry at the heart of Kantos. Although his ruminations on AI, transhumanism, and humanity's troubled fate indelibly guided the making of Kantos, Ishibashi nonetheless views the album as "less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love." "If there's anything I want people to come away with when they hear this record, it's a feeling of excitement about the possibilities of human-created art," he says. "Even as we're learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. There's still no limit to what we have to offer."

‘The Oakland band’s wide-ranging debut is a whirlwind of biting critique, nervy post-punk guitars, and absurdist humor. Rarely does a first record speak with such a trenchant voice.’ 7.5 PITCHFORK
‘Post-punk lovers have a new act to follow" - PASTE
Fake Fruit’s visceral indie rock operates so firmly in the present that it’s transportive and unmooring. The Oakland trio’s songs careen with volatile energy and lead singer Ham D’Amato’s lyrics are enveloped with acerbic humor and resonant perceptiveness. Though their new LP Mucho Mistrust is a sly reference to a beloved Blondie lyric, the title encapsulates both the anxieties of daily life, a bloodless music industry, and global capitalism as well as the clear-eyed skepticism needed to rebel against it. Across 12 propulsively unpredictable tracks, the album is both their most collaborative and most immediate yet.
Following the 2021 release of Fake Fruit’s self-titled debut LP, the band’s personal lives hit a turbulent and transformational period. “There were big life changes and I was so close to boiling over,” says D’Amato. “I left a bad relationship, entered a more stable and loving one, got diagnosed with alopecia, and I'm turning 30 soon too.” This personal upheaval was channeled into the explosive lead single “Mucho Mistrust.” The track is simultaneously disorienting and direct, with clanging guitars from Alex Post, off-kilter drums from Miles MacDiarmid, and D’Amato snarling, “How you gonna blame me / when you could’ve done something about it / it’s not right / How you gonna marinate me / in shitty things overnight.” She explains, “This song was a snapshot of how I got through a difficult year.”
Recorded live at the Bay Area’s Atomic Garden studio with producer Jack Shirley (Deafheaven, Home Is Where), the band’s palpable ferocity shines throughout the record. Single “Más o Menos” is searing punk, with buzzsaw guitars and surging bass. It’s a clenched-fist song, one where D’Amato sings, “I decided to assert myself / After I lost all my sense of self.” Later in the track, D’Amato, who is Chicana, sings in Spanish, “¡No me hables! / ¡No escuchare!” While some of these songs deal in heartbreak, they are charged with way bigger themes. “There's also wanting to break up with capitalism and feeling upset about things politically,” says D’Amato.
For the band, these themes are personal. “I'm managing us while I'm in between changing diapers in my day job as a nanny,” says D’Amato. “Everyone in the band still believes in it and is motivated to keep wading through the bullshit.” On this album, they had no choice but to bet on themselves and each other. No track broadcasts their evolution better than the single “Cause of Death,” which morphs from a gorgeous sax-laden banger to something cathartic and anthemic.
As adventurous and righteous as Mucho Mistrust gets, there’s still an inviting core that never takes itself too seriously. From the ripping “Cause of Death,” which self-deprecatingly takes aim at anxiety and indecision, to the searing title track, Fake Fruit imbue their songs with humor and heart. “Our band is fun,” says D’Amato. “My number one coping mechanism for all of life is to joke about it. Even when the album talks about serious things, I am proud of how funny it can be.”

The year 2020 sure wasn't the most ideal time to form a band, especially for a group of musicians who never played together before. But for New York rock quintet GIFT, this strangest of periods was the auspicious backdrop for a bold new sound - a dizzying blend of early shoegaze, classic `90s alternative rock and even modern pop. Indeed, that GIFT emerged somewhat fully formed on their 2022 debut album Momentary Presence was a testament to the creative possibilities laying deep within. Now, Illuminator, their Aug. 23 debut album for revered New York independent label Captured Tracks, is the long-awaited payoff of GIFT's ever-growing musical and human chemistry. And while nods are apparent to label forerunners such as Beach Fossils, DIIV and Wild Nothing, GIFT are shepherding those elements into wondrous new vessels for the present moment - sleek, often danceable and frequently mesmerizing. GIFT - vocalist/guitarist TJ Freda, multi-instrumentalists Jessica Gurewitz and Justin Hrabovsky, drummer Gabe Camarano and bassist Kallan Campbell - are firmly enmeshed in the New York scene as talent buyers, photographers, DJs, audio engineers, art directors and, in the case of Campbell, an owner of the beloved Brooklyn DIY venue Alphaville. GIFT introduced Illuminator with "Wish Me Away," their first new song in the 18 months since the debut. With its earworm guitar lines, propulsive rhythms, riveting vocals and mind-expanding aural flourishes, "Wish Me Away" is the perfect sonic springboard from Momentary Presence to where GIFT are going next. It's also a potent reminder that you can still preserve that twinkle in your eye even when you feel like everything's slipping away. On songs such as "Light Runner", "Going In Circles" and "Destination Illumination," Freda demonstrates a newfound confidence and versatility, embracing pop music as a vehicle. The relentless, often painful dance of love has never sounded as exhilarating as on "Going in Circles," while the strident tone poem "Water in My Lungs" conjures the unreal feeling of watching a romantic partner both figuratively and literally fade from view. "This album has a lot of themes of going fast, time passing and things changing," Freda says. Throughout, Freda and company thankfully do much of the hard work for us: falling in love, heartbreak. Watching events and moments go by like cars on the highway. People you once knew coming in and out. Grieving the loss of different phases. Watching everything happen simultaneously. For these and many other reasons, Illuminator, friends, will be the soundtrack to the throughline of your life.

Maggie Antone ist die neue timme im Alt-Country: Nachdem ihr Cover von Tyler Childers "Lady May" über eine Million Likes bei TikTok sammelte,
begann sie, an ihrem Debütalbum zu arbeiten.
Antones kommendes Album Rhinestoned mit zehn Songs ist ein überzeugender Beweis dafür, dass die aus Virginia stammende Sängerin das nächste
große Ding im Country sein könnte. Das Album, das auf ihrem eigenen Label Love Big via Thirty Tigers erscheint, baut auf dem durchschlagenden
Erfolg ihrer Debütsingle "Suburban Outlaw" auf. Auch wenn ihre Stimme einen in ihren Bann zieht, so ist es doch die Verletzlichkeit ihres
Songwritings, die einen immer wieder zurückkommen lässt.