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Very few bands manage to last decades, and for the ones that do, it's often easy to settle down and get a little too comfortable. But there's nothing comfortable about Devourer, the explosive new album from Cursive. The iconic Omaha group is known for their intensity, ambition, and execution, and has spent 30 years creating a bold discography that's defined as much by its cathartic sound as its weighty, challenging lyrical themes. And Devourer is as daring as ever. Full of intense and incisive songs, the album proves exactly why Cursive have been so influential and enduring-and why they remain so vital today.In the years since their 1995 formation, Cursive developed into one of the most important groups to emerge from the late-'90s/early `00s moment when the lines between indie rock and post-hardcore began blurring into something altogether new. Albums like Domestica (2000) and The Ugly Organ (2003) became essential touchstones whose echoes can still be heard in new bands today. Devourer, as an expansive new double-album, examines humanity's bottomless capacity for consumption through a series of songs that act like vignettes, driven by frontman Tim Kasher's never-ending appetite for both taking in and creating art."I am obsessive about consuming the arts," he explains. "Music, film, literature. I've come to recognize that I devour all of these art forms then, in turn, create my own versions of these things and spew them out onto the world. It's positive; you're part of an ecosystem. But I quickly recognized that the term, `Devourer,' may also embody something gnarly, sinister." Fans have come to expect such heady topics from Cursive, but Devourer sets a new standard.While Cursive's music hasn't gotten any more comfortable, perhaps its being released into a world that's at least a little more shaped in their image. Devourer sounds urgent and fresh, the work of a band still experimenting, still hungering to find new creative heights. On album highlight "Consumers," the protagonist bemoans, "I saw our future and I want to go back." But Cursive are only moving forward.

Rilo Kiley was born from hunger, from the insatiable desire to write one’s own story. The band’s origins can be traced back to Los Angeles in the late 1990s, when Jenny Lewis and Blake Sennett discovered a shared songwriting obsession and began performing together. After some starts and stops, a band was formed with Pierre “Duke” de Reeder playing bass. They called themselves Rilo Kiley, borrowing a name that came to Sennett in a dream.

For their second record, Rilo Kiley headed to Nebraska to record with Bright Eyes’ Mike Mogis alongside new drummer Jason Boesel. Here, Lewis truly becomes a generational songwriter, spinning interior mysteries regarding romance, depression, trauma, hope, and isolation into cathartic revelations. The Execution of All Things was a triumphant arrival.

Originally released in 2002, the celebrated and beloved album The Execution of All Things is a hallmark of indie rock. Hailed by fans and critics alike as an essential component to any record collection.

Die Verbindung von Musik mit Geschichten, Gefühlen und Situationen ist für Kugelmann essenziell. Vor allem aber spielt und komponiert er mit betörender Energie, und es gelingt ihm wie keinem anderen deutschen Kontrabassisten der Gen-Z-Generation, sein Instrument zur Front-Figur seiner Musik zu machen. "Life Score" präsentiert neun Geschichten, in klaren, präsenten Melodien, im groovenden, fl ießenden Rhythmus eines homogen klingenden Trios und auch in der Natürlichkeit melodischer Musik.

Co-directed with Maxime Daoud (Ojard), this 7th opus was written and composed with passion and recorded with an outstanding team of musicians. The message of Barbara Carlotti's new album is direct and essential: "Cherish your future!" It is an invitation to welcome the unknown, to view our destinies with tenderness, to strive toward the future while taking care of our style, to counter life's setbacks, to chase the green ray, and to reinvent love. The goal is to liberate expression, heal the wounds of the past, articulate desire with elegance and humor, and let ourselves be moved by fleeting yet eternal joys, the sight of the ocean, or the infinite beauty of a singing voice that fills us with hope and strength in an outpouring of freedom.

1990's Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3's departing statement surely reveals a deep divide within the S3 camp – each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other's songs – Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock.

Opening saga "Big City (Everybody I Know Can Be Found Here)" marries ambient haze with narcotized indie rock, while "I Love You" manages to arrange a beautiful flute alongside a defiantly throbbing bass track. "Hypnotized," a reimagined fuzz-pop hymn, would become the group's first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3's persistent sound, rooted in both aural expansion and phenomenal songwriting.

Includes download card and new insert with liner notes by Marc Masters.

After over a year of being a floor-filling staple in their live set, we are pleased to release Say She She's stunningly bright and bold cover of the Jackson Sister's classic 'I Believe In Miracles.' Oozing with fresh and funky production from Orgone's legendary Sergio Rios, it's an utterly irresistible tune that will get you giddy with movement! The B-side, 'C'est Si Bon', is the group's French discodelia anthem -- encouraging listeners to throw their hands up and concede to joy. This catchy bilingual track is one of many hits off of their critically acclaimed sophomore LP 'Silver,' which was released to rave reviews last fall. This 45 is essentially a double A, and a collector and DJ must! Two tracks that will undoubtably get the crowd going, what more could you need?

Looking behind the obvious, forming an orchestra out of everyday surroundings.

Finding the essence in the trivial, clarity in the complex, poetry in simplicity. All of this is part of the goal, meaning and character of Oh No Noh, the project of Leipzig-based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom. All of this floats and shines through "As Late As Possible", the third Oh No Noh album, which will be released on April 4th, 2025.

The focus of this album, as the title "As Late As Possible" suggests, was patience. A creative lingering, the selfimposed principle of letting ideas mature, consciously leaving them lying and looking at them again in order to discover and refine new things. Always looking for new ways of producing musical sounds, Markus Rom has been blurring the boundaries between LoFi, Indietronica, Postrock, Kraut and Pop with his solo project for several years. His main instruments for this are electric guitar, MIDI robots, tapes and samples. For “As Late As Possible”, Rom expands his setup with a new sound sources (acoustic guitar, banjo, organ) and musical guests: Damian Dalla Torre (Squama) on bass clarinet and Andi Haberl (the Notwist, Sun) on drums.

“As Late As Possible” continues the signature of past releases and adds new facets. Rom's distinctive looping in and over each other is particularly evident in the tracks “Missing the Point”, “Orb” and “Almost Everywhere”. With "Loot", a straightforward and folk-pop piece finds its way onto the album and coexists with math-trained tracks like "Dog Years" or "Dot", which conjure up associations with Weilheim bands like COUCH. The tracks "Bliss of Disconnect" and "Fawn" were created in collaboration with the featured guests Liz Kosack and KMRU. The confidently unplanned is one of the principles around which Oh No Noh itself is also continuously evolving. Part of this development: the radio series "Oh No Noh Radioh", which has so far consisted of over 40 parts, for which Rom invites a guest in each episode to research music together along roughly defined concepts, ideas and inspirations. Together with technology composer Hainbach, free jazz artist Limpe Fuchs and sound artist Elsa M’Bala, for example, encounters were created whose patient search and find and whose controlled coincidences also characterize “As Late As Possible” – but here concentrated, concise, and with all the love of sound and experimentation always committed to the song. With this will to create a song-like narrative, to move, to develop, “As Late As Possible” remains suspended and searching. Its concentration seems light-footed, its happy accidents well-placed, the melancholic beauty of outdated technologies, forgotten musical toys and broken noise sources always forward-looking. Music like the one that comes about when someone programs an entire robot band, which then becomes just a friendly part of the whole.

The artwork for “As Late As Possible” was created by Leipzig comic artist Anna Haifisch. The album was mixed by Adam Lenox and mastered by Frida Claeson Johannsson.

Incl. huge Barac remix. Welcome to an odyssey that only those with a unique understanding can embark on. We have gathered these artists to transport you to a world of fantasy, where anything is possible. Join us on this journey of sensations.

Argentine artist Nektar Agu unlocks this enigmatic path, where you may come face to face with your deepest fears. Are you ready? By grasping the essence of Leviosa, you will come to appreciate the magnificent masterpiece created by Barac. It is an honor for us to present this historic sound on our label—we still can’t quite believe it ourselves. The Romanian artist continues this journey with his signature sound, leaving us speechless as we follow him into the unknown. Closing the experience, Forty Eyes—a collaboration between our label owner, Lucas Moss, and Nektar Agu—immerses us in a pure atmosphere of grace, offering a breath of clarity after this bewildering passage through auditory flavors.

2025 Blue Vinyl Repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Four Seasons in Kyoto’ marks the final chapter of The Kyoto Connection’s Ambient Japanese trilogy, following Postcards (2018) and The Flower, The Bird and The Mountain(2022). Like its predecessors, this album pays homage to the pioneering ambient and environmental music movements of 1980s and 1990s Japan.

The album unfolds as the imagined soundtrack to life in a quiet rural village, where nature and tradition shape the rhythm of everyday existence. Across 14 evocative compositions, The Kyoto Connection captures the essence of Japan’s ever-changing seasons, weaving together delicate melodies and immersive soundscapes. With contributions from friends and fans in Japan, Four Seasons in Kyoto is both a tribute and a transportive listening experience from producer Facundo Arena, the composer and producer behind The Kyoto Connection.

With Four Seasons in Kyoto, Facundo Arena continues his deep exploration of Japanese ambient and environmental music, blending his long-standing admiration for Kyoto’s cultural heritage with a sound that feels both nostalgic and timeless. While Postcards was an instinctive homage and The Flower, The Bird and The Mountain drew from real Kyoto field recordings, this final chapter in the trilogy leans further into the imagined, an intimate portrait of an unseen yet deeply felt Japan.

Recorded using a mix of vintage synths, delicate acoustic instrumentation, and subtle electronic textures, Four Seasons in Kyoto refines The Kyoto Connection’s signature approach. Organic soundscapes and drifting melodies mirror the slow change of seasons, evoking the impermanence central to Japanese aesthetics. The result is a record that seamlessly bridges the natural and the synthetic, memory and imagination, a fitting conclusion to a journey that began with an algorithmic discovery and blossomed into a rich sonic world of its own.

Here comes a very special production from East Germany of the early 70s!
One of the TOP Soul-Jazz & Beat combos in the country led by bassist and singer HORST KRÜGER,
recorded two previously unreleased, outrageously good titles here in the newly formed septet format.
"Ich will die Zeit nicht bereuen" is probably by far one of the most crispy produced German-language soul beat numbers that existed in the GDR at that time! From the pen of Ralf Petersen, the then head of Berliner Rundfunk personally, no pure high-class hit was recorded here, but hard-hitting, rocking beat.
It was not without reason that the choice of the head of broadcasting fell on the recently formed Horst Krüger Septet, which also gave the contemporary jazzy sound a perfect touch through an intensified brass section from 1970 on.
The title "Sonderbar" is exactly what its title promises, peculiar and extraordinary. A feat that was created as such in 1972. This somewhat sweeter SoulJazz vocal piece had a concrete idea, which composers Dieter Kopf, Horst Krüger and Franz Bartzsch as a musical arranger as well as Jens Gerlach in the musical free spirit of the hippiesque era. A through the stylistic device of Repetito in the text
dominant repetition, which is complicated in the context of the ever-evolving theme about feelings and love Groove of bass, guitar, drums and organ theme is reflected, redefined and constantly found again, simply masterfully. An interlude with a flute solo and a groovy dreamy Hammond organ solo at the end of the title, envelops the verses very contemporary.
Horst Krüger on bass guitar and his wife Gerti Möller with her outstandingly distinctive and powerful voice on the microphone.
A must for every fan of early beat, rock and soul!

If Hawalat sounds like a world tour that’s because it essentially is. “As much as Marzipan is a picture of Lebanon from the inside, Hawalat kind of picks up from where Marzipan finished but more looking to the outside, the diaspora, to the notion of exile.” Megarbane says he is interested in the connections between the global and the domestic, the mundane and the cosmic, and wanted to create space for non-linear progression.

Hawalat is based on the idea of hawala, informal money transfers that you can make to certain countries impacted by a lack of currency or unstable political and economic contexts. His use of the term on this album is not a financial one, Megarbane explains, but a nod to notions of creative exchange between “places, persons, generations.” It is the first time Megarbane called on other musicians in this way to inform his sound, including a collaboration with Sven Wunder on the song Helia featuring strings by the Stockholm Studio Orchestra.

The album opens with first single Hanadi, a punchy Somali-inspired track with warm non-lexical vocals and saxophone. It immediately pivots to the Dreams of an Insomniac, which balances soft, effortless vocals and keys with urgent violin intrusions. Al Dollarji feels like Megarbane’s bread and butter, that is Mediterranean sounds with intricate strings, while Al Bahriye takes this staple and introduces hip hop inflections. The result is a rich 17 track album that effortlessly blends genres and styles.

Including 8 page, 12" sized booklet with unseen photos and liner notes by Armani Syed.

"After more than 20 years, Band Of Brothers is still considered one of HBO's most important series. Produced by Steven Spielberg and Tom Hanks, the series has won major awards such as the Golden Globe for Best Miniseries and the Emmy Award for Outstanding Miniseries. Band Of Brothers is a war drama miniseries based on historian Stephen E. Ambrose's 1992 non-fiction same titled book. It follows the story of Easy Company of the U.S. Army 101st Airborne Division and their mission in World War II Europe, from Operation Overlord to V-J Day. The score, composed by the late Michael Kamen, is credited as one of the essential elements in creating the realistic atmosphere of the series. Kamen was best known for scoring movies such as Die Hard, Lethal Weapon and X-Men, and received an Academy Award nomination for both Don Juan DeMarco and Robin Hood: Prince Of Thieves. Revisit the Band Of Brothers score with this deluxe reissue on white coloured vinyl, available as a limited edition of 1500 individually numbered copies. The 2LP is housed in a sleeve finished with linen laminate and includes a 4-page booklet with a large cast picture on the inside."

"Overgrown Eden is the debut album from Essex rock band InMe. The album was released in the UK in 2003 and produced four singles: ""Underdose"", ""Firefly"", ""Crushed like Fruit"" and ""Neptune"". The highest UK Album Chart position was No. 15. However, it reached No. 1 in the Rock Album Chart. This version of Overgrown Eden is expanded with an additional bonus LP featuring 10 non-album tracks. Overgrown Eden (Expanded Edition) is available as a limited edition of 666 numbered copies on white coloured vinyl and includes an insert with lyrics."

Being one of the most popular albums in the history of the label,

Music Brokers is happy to announce the release of Jazz And Beatles in a limited-edition double LP.
The album features 24 stellar Beatles classics reinvented in jazz form that highlight the catalog of the biggest band of all time.
Gems such as “Yesterday”, “Here Comes The Sun”, “Revolu- tion” and “She Loves You” have new life with reworked versions
by many of the biggest names in the nu-jazz move- ment including Jazzystics,
Les Crossaders, The Cooltrane Quartet, Eve St. Jones and Apollinare Rossi. With stellar artwork and remastered sound,
this is another essential addition to your jazz-lounge music collection in vinyl format.

First-ever vinyl release of the instrumentals! RSD25

Groove to the sounds of the Free Nationals like never before! Their self-titled album, Free Nationals, is finally getting an exclusive instrumental vinyl release. Fans can experience the full sonic landscape of their signature funk, soul, and R&B fusion with no distractions—just pure, smooth vibes and great music.

Pressed on 180g heavyweight black vinyl, this limited edition release offers pristine audio quality that showcases the musicianship and craftsmanship behind the album’s beloved soundscapes. Whether you’re a fan of their work with Anderson .Paak or just a lover of rhythm and soul, this release is a collector’s dream—an essential for DJs, audiophiles, and anyone who craves the instrumental heartbeat of this incredible record.

First Reissue of this fantastic Folk Funk masterpiece on 'starflower leaf green' Vinyl, a beautiful collection of songs from the late great Linda Waterfall, the record sells for over £50 and has been exhanging hands between collectors for more than that for the past few years. Essential reissue for collectors, portion of the profits will go towards the Linda Waterfall Foundation. Joni Mitchell-esque folky funk blissness.

Night Keeper is a collaborative album by New York City-based artist Aaron Landsman and former Swans guitarist Norman Westberg that is based on the former's eponymous play. Westberg recorded it together with performer Jehan O. Young for the Swiss Hallow Ground label, with Landsman serving as the record’s producer. The original piece was first performed in the Spring of 2023 at The Chocolate Factory Theater in Queens and filled the stark industrial space with spoken text, choreography, projections, and music in dim light and, occasionally, complete darkness. Westberg and Young afterwards brought it to the studio to record it as a two-part
album in whose course his textural sounds, based on loops and samples, set the stage for her soothing, sonorous vocal performance. »Night Keeper« is a performance inspired by sleeplessness and the wanderings of the human mind at night—about time and memory.
Westberg and Young elegantly capture its essence in these roughly 44 minutes with a somnambulic album, letting sound and meaning flow into each other. The initial spark for Night Keeper was a run of almost sleepless nights in different neighbourhoods of a city that is perpetually insomniac. Instead of trying to force himself to go back to sleep by any means necessary, Landsman started writing down his thoughts. As he explains in the liner notes—accompanying the music along with drawings made by audience members during the performances—he started listening to the particular way in which the voice in his head navigates time and language. Accordingly, the texts that Young reads on the record form a diverse collection of specific moments, imagining different speakers and evoking different
situations. Westberg complements, accentuates, and juxtaposes these with different means. Ominous drones, soaring melodies, rhythmic bass sounds: the guitarist, whose latest release for Hallow Ground was 2021’s First Man In The Moon with Polish double bassist Jacek Mazurkiewicz, conjures up distinct sound worlds in which Young can let Landsman’s scenes unfold to gripping effect.
Landsman makes it clear that »Night Keeper« was intended as an invitation to »stay up, look out the window, let what’s happening outside spark reveries or predictions« or even take it on a stroll through the neighbourhood—at night, of course. Much like the original piece, this album is then one dedicated to wandering around, both mentally and physically.

35 Years of Evil Existence ist ein Live-Album, das die Essenz von ROTTING CHRIST einfängt. Von Klassikern wie "The Raven", "Demonon Vrosis" und "666" bis hin zu älteren Stücken wie "Among Two Storms" (1997) oder sogar "The Sign of Evil Existence" (1993) ist diese außergewöhnliche Performance, die in der Großartigkeit des Lycabettus Theaters in ihrer Heimat aufgenommen wurde, eine monumentale Hommage an ihre unermüdliche Reise über die Jahre.
Stell dir fast zwei Stunden heftige und unnachgiebige Hingabe vor, eine musikalische Pilgerreise durch ihre geschichtsträchtige Karriere - von den rauen, ursprünglichen Hymnen ihrer frühen Tage bis zur symphonischen und gotischen Grandiosität ihrer jüngsten Kreationen.
Erhältlich auf Vinyl, verewigt diese Veröffentlichung eine Nacht, in der rohe Emotionen und rituelle Intensität in einer Symphonie aus schwarzer Harmonie zusammenfielen. Brüder und Schwestern des Metals, erlebt den wahren Geist des Metals, wie ihn die legendären ROTTING CHRIST verkörpern.

35 Years of Evil Existence ist ein Live-Album, das die Essenz von ROTTING CHRIST einfängt. Von Klassikern wie "The Raven", "Demonon Vrosis" und "666" bis hin zu älteren Stücken wie "Among Two Storms" (1997) oder sogar "The Sign of Evil Existence" (1993) ist diese außergewöhnliche Performance, die in der Großartigkeit des Lycabettus Theaters in ihrer Heimat aufgenommen wurde, eine monumentale Hommage an ihre unermüdliche Reise über die Jahre.
Stell dir fast zwei Stunden heftige und unnachgiebige Hingabe vor, eine musikalische Pilgerreise durch ihre geschichtsträchtige Karriere - von den rauen, ursprünglichen Hymnen ihrer frühen Tage bis zur symphonischen und gotischen Grandiosität ihrer jüngsten Kreationen.
Erhältlich auf Vinyl, verewigt diese Veröffentlichung eine Nacht, in der rohe Emotionen und rituelle Intensität in einer Symphonie aus schwarzer Harmonie zusammenfielen. Brüder und Schwestern des Metals, erlebt den wahren Geist des Metals, wie ihn die legendären ROTTING CHRIST verkörpern.