Dusted Angel is a band that likes to keep it in the family. Made up of a group of close friends that have known each since the early 80s, stemming from playing in various intertwined bands engraved in the extended Santa Cruz family of friends. Featuring Ed Gregor, guitar (hedgehog, no use for a name), Eric "Dog" Fieber, guitar (Mock, creature, fire sermon) Steve Ilse drums (creature, Herbert, Automatic Animal) Clifford Dinsmore vocals (Bl'ast!, Seized Up, Spaceboy) and Eliot Young (Lost in Line, Seance) on bass. Formed in 2009, Dusted Angel is a sleeping giant that awakens from time to time to enlighten people with their unique brand of heavy, heavy groove laden music. Now it's time for a new album via Heavy Psych Sounds Records!
Transparent orange vinyl, limited to 300 copies. Dusted Angel is a band that likes to keep it in the family. Made up of a group of close friends that have known each since the early 80s, stemming from playing in various intertwined bands engraved in the extended Santa Cruz family of friends. Featuring Ed Gregor, guitar (hedgehog, no use for a name), Eric "Dog" Fieber, guitar (Mock, creature, fire sermon) Steve Ilse drums (creature, Herbert, Automatic Animal) Clifford Dinsmore vocals (Bl'ast!, Seized Up, Spaceboy) and Eliot Young (Lost in Line, Seance) on bass. Formed in 2009, Dusted Angel is a sleeping giant that awakens from time to time to enlighten people with their unique brand of heavy, heavy groove laden music. Now it's time for a new album via Heavy Psych Sounds Records!
François and Sylvain Rabbath have turned six years of touring into a joint album that patiently and intensely distills a variety of musical flavors gathered from around the world.
Since the early 1960s, François Rabbath's double bass has resonated through enough landmark recordings to fill several shelves in a record collection. As an arranger, composer, and musician, his imprint on music goes far beyond his collaborations with Barbara, Paco Ibáñez, Charles Aznavour, or Édith Piaf. Aspiring double bassists owe him a groundbreaking method for learning the instrument. Born into a lush musical universe that quickly became his own, his son Sylvain first accompanied him on his travels before settling at the piano and sharing stages around the world at his side.
Those years of accumulating visas in their passports were put to good use by father and son. The continents, countries, and cities they passed through became a rich source of inspiration for composing Amall, the album by the Rabbath Electric Orchestra.
Long hours spent in the air or on the road, watching passing landscapes that never stayed the same, were transformed into compositions imbued with the atmospheres of the places they crossed or visited. Inspiration sometimes struck with force, like a green oasis appearing in a desert of stone—unexpectedly, as glowing red rocks suddenly dominated an otherwise open landscape with an endless horizon, while the mind wandered into a state between meditation and introspection.
Born from these travels, the pieces took on their final colors once brought into the studio, refined, and finally arranged to welcome the guitars of Keziah Jones and Matthieu Chedid, the piano of Laurent de Wilde, the bass of Victor Wooten, the saxophone of Raphaël Imbert, and the percussion of Minino Garay. Enhanced by the scale of the jazz-soul orchestrations, by the richness of arrangements bursting from strings, brass, rhythms, or keyboards, the epic breath of vast plains became ingrained. The urban tension of funk, echoing their movements, found its place—alongside more electric expressions or the ambience of a darkened room.
Melancholic and melodious, expressive and edgy, the bowed double bass—played in the high register where few dare to go—emerged as the musical guide. One that draws a path between Seville and Minneapolis, connects François Rabbath's native Syria to France, and bridges South America to Europe. It sets the tone to follow—the emotion that will carry the piece, and if not filled with light, will carry it there nonetheless.
Musical visions packed in luggage, transported in cargo holds, or imprinted in their minds just long enough to cover the distances to the next stop—father and son deepened their bond, beyond family and art. And their hands have never held each other more tightly.
François et Sylvain Rabbath ont fait fructifier six ans de tournées pour un album commun distillant patiemment et intensément la variété de parfums musicaux récoltés autour du monde.
Depuis le début des 60’s, la contrebasse de François Rabbath résonne dans assez de références pour combler plusieurs étagères d’une collection de disques. Arrangeur, compositeur, musicien, l'empreinte laissée dans la musique va bien au-delà de ses collaborations avec Barbara, Paco Ibanez, Charles Aznavour, ou Edith Piaf. C’est à lui que les
apprentis contrebassistes doivent une méthode novatrice pour apprendre l’instrument.
Né dans un univers musical luxuriant qui est vite devenu aussi le sien, c’est d’abord dans ses voyages que son fils Sylvain l’a accompagné, avant de s’installer au piano, et parcourir les scènes du monde à ses côtés. Ces années où les visas se sont entassés sur leurs passeports, père et fils les ont mises à profit. Continents, pays, et villes qui se sont succédés sont devenues un gisement pour composer Amall, l’album du Rabbath Electric Orchestra.
Les longs moments passés dans les airs ou sur la route à contempler un paysage qui défile sans pour autant rester le même, se sont convertis en compositions habitées par les ambiances de ces endroits traversés ou visités. Là où l’inspiration s’est imposée parfois brutalement, sous
la forme d’un oasis de verdure surgissant au milieu d’un désert de pierres. Au hasard d’imposantes roches rougeoyantes s’invitant dans un paysage jusqu’alors dégagé sur un horizon sans fin, quand l’esprit se laisse aller à un mélange de méditation et d'introspection.
Nés de ces pérégrinations, les titres ont pris leurs couleurs définitives une fois ramenés en studio, peaufinés puis, enfin, pensés pour y inviter les guitares de Keziah Jones et de Matthieu Chedid, le piano de Laurent de Wilde, la basse de Victor Wooten, le saxophone de Raphaël Imbert, les percussions de Minino Garay. Sublimé par la dimension des orchestrations jazz-soul, par la richesse des arrangements jaillissant des cordes, des cuivres, des rythmiques ou des claviers, le souffle épique des plaines immenses s’est imprimé.
La nervosité citadine du funk rythmant les déplacements a trouvé sa place, non loin d’une expression plus électrique ou d’une atmosphère de salle obscure.
Mélancolique et mélodieuse, expressive et nerveuse, la contrebasse jouée à l’archet, dans les notes hautes du manche où peu s’aventurent, s’est érigée en guide musical. Celui qui trace le chemin entre Séville et Minneapolis, relie la Syrie natale de François Rabbath à la France,
réduit la distance entre l’Amérique du Sud et l’Europe. Donne la note à suivre, l’émotion qui traversera le morceau qui, s’il n’est pas habité par la lumière, le portera néanmoins jusque là.
Visions musicales mises dans le coffre, transportées en soute ou imprimées dans l’esprit le temps de couvrir les distances qui les mèneront aux prochaines, c’est côte à côte que père et fils ont prolongé leur lien par delà des seules limites familiales et artistiques. Et leurs mains ne se sont jamais serrées aussi fort.
credits
Der aus Harlem/New York stammende Pianist Freddie Redd (1928-2021) wurde 1959 durch die Musik
bekannt, die er für das mit mehreren Preisen ausgezeichnete Off-Broadway-Theaterstück “The Connection” geschrieben hatte. Der Soundtrack des Theaterstücks, in dem es um das Leben heroinabhängiger
Jazzmusiker geht, erschien ein Jahr später bei Blue Note. Noch im selben Jahr spielte der von Charlie
Parker, Thelonious Monk und Bud Powell beeinflusste Pianist mit “Shades Of Redd” sein zweites Album für
das Label ein. Darauf stellte er sein kompositorisches Können mit einem formidablen Hard-Bop-Quintett
noch nachhaltiger unter Beweis.
Satisfaction comes in many forms. When the magical word Motown is uttered, most people are hard-wired to The Four Tops, the Temptations and The Supremes. But to reduce Motown to the effervescent sixties is only part of the label’s remarkable legacy.
By the 1970s, a different sound was gathering. America was on the verge of a nervous breakdown. The Vietnam War had been a disaster, urban street crime was epidemic and the nation’s college campuses were alive with political resistance. The joyful hope that had inspired “Baby Love” now felt anachronistic and out of time.
The music industry was changing too. The vinyl pop single on 45rpm which had been the staple of Motown’s success was being challenged by concept albums. This was the era of Edwin Starr’s anti-war album War and Peace (1970), The Temptations mind-bending Psychedelic Shack (1970) and Marvin Gaye’s state-of-the-nation classic What’s Going On (1971).
By the early 1970s Motown had a stable of male vocalists that was arguably the best in the world, among them former lead singers from The Temptations - David Ruffin, Dennis Edwards and Eddie Kendricks. Alongside them singer-producers like Leon Ware and Frank Wilson were asserting their presence.
David Ruffin’s “Crime in the Street” captured the epidemic of violence in Detroit allowing his exquisite voice to quietly rage against gun crime. Recorded a few years before his underground classic “Rode by the Place”, both sound more modern today than when they were recorded.
If there is a common thread here, it’s the mid-tempo shifting soul soon to be christened as “quiet storm” including groups on the margins of Motown such as The Originals and The Fantastic Four led by the impassioned “Sweet” James Epps.
Just to keep you satisfied, immerse yourself in the overlooked creativity of Detroit’s male voices in the early 1970s.
EELS-Frontmann E und Kate Mattison (79.5) präsentieren: BOO BOOS – YOUNG LOVE
Ein bicoastales Indie-Soul-Debüt zwischen Charme, Tiefgang und verspielter Nostalgie
Mit Young Love veröffentlichen die Boo Boos – bestehend aus Mark Oliver Everett (aka E, Frontmann von EELS) und Kate Mattison von 79.5 – ihr gemeinsames Debütalbum. Entstanden zwischen Los Angeles und Brooklyn, verbindet das Album verspielten Indie-Soul, herzliche Melodien und den unverkennbaren Sound zweier Ausnahmemusiker*innen.
Was mit einem zufälligen KCRW-Radiomoment begann, entwickelte sich schnell zu einem kreativen Hin-und-Her zwischen Küsten und Klangwelten. Produziert wurde das Album vom Duo selbst, aufgenommen u. a. mit Koool G Murder, Tommy Walter, The Chet, Caíto Sánchez und dem Hollywood Boo Boo Orchestra, dirigiert von K.G. Murder.
Young Love ist mal groß, mal intim, immer aufrichtig – ein warmherziges, unangestrengtes Album, das Soul, Pop und persönliche Geschichten in den Mittelpunkt stellt.
Für Fans von: EELS, 79.5, Durand Jones, Lady Wray, Chicano Batman, nostalgischer Pop-Intimität und liebevoller DIY-Produktion.
"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records.
It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly.
With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky
organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in
perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.
Shelter is a Hardcore punk band formed by Ray Cappo. After releasing previous works through independent labels, the band signed a deal with the legendary heavy metal and hard rock label Roadrunner Records. Originally released in
1995, the critically acclaimed album Mantra was the first
release by the band on the label.
By the time Shelter released the album Mantra, the punk rock scene was in evidence in America, especially in California, with bands like Bad Religion, Rancid, The Offspring and Green Day achieving mainstream popularity.
With Mantra the band moved away from the more punk pop style and created a melodic hardcore style. The song Here We Go' became an anthem. Lyrically the album focused mainly on Hare Krishna philosophy and the problems the Western Civilization creates. The first song, Message of the Bhagavad', is introduced by an excerpt of a Bhagavad Gita verses reading.
This classic album is now finally available again on vinyl!
If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona's John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However - and this is quite rare - he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on
Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).
At the same time he drew the attention of like-minded artists like James Holden and Luke Abott from Border Community, Blondes or Delorean, which lead to a bunch of fertile collaborations: Luke Abbott and Blondes remixed Talabot’s “Sunshine“ single , John Talabot remixed a track by Delorean and vice versa Delorean’s Ekhi contributed vocals to the track “Journeys “ on John’s album). Another example is the Young Turks Label (home of Jamie XX, Holy Fuck, El Guincho or SBTRKT ) on which he released the “Families“ EP in 2010. It was praised beyond limits. Pitchfork for
instance hailed: “… where pop and house influences sweetly buffer up against one another to provide an unyielding sense of elation“ and even brought Talabot a comparison with artists like Four Tet or Caribou.
While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European House and has made him also a highly in demand Remixer (for the likes of The XX, Francesco Tristano’s “Aufgang” project, Shit Robot on DFA, Thaiti 80, Joakim or Teengirl Fantasy to name just a few ).
A progression that now crystallizes in “ƒin”, his first full-length album for Permanent Vacation. A record, in which the Barcelona mastermind sets aside the danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective, in which the construction of complex song structures, intricate rhythms and superpositions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks (we should call them songs really!) dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. “Fin” is far from being a track collection. From the majestic opener “Depak Ine“ to it’s solemn ending with
“So Will Be Now“ , one of the two tracks that features Talabot’s soul and label mate Pional, each song traces an overall dialogue with the rest, culminating a highly emotional journey through Talabot’s always compelling and unique musical vision.
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Renowned producer and DJ Yuri Suzuki is back with a bang, releasing his latest record titled "Border" via the iconic Detroit Underground label. This new release features eight electrifying acid tracks that blend the infectious grooves of jacking house and the driving energy of techno.
Yuri Suzuki has been a pivotal figure in the electronic music scene, known for his unique sound and innovative production techniques. With "Border," he takes listeners on a journey through the pulsating heart of the underground music culture. Each track showcases his knack for crafting infectious rhythms and hypnotic melodies, making this vinyl a must-have for any serious collector or DJ looking to elevate their set.
The tracks on "Border" are a perfect representation of the classic acid sounds that have been making a resurgence in recent years. From the moment the needle hits the vinyl, listeners are transported to a world where the dance floor is king, and the beats are relentless. Yuri's signature style shines through, combining crisp percussion, gritty basslines, and infectious samples that create an irresistible urge to move.
“Most of these tracks were produced in the 90s, in my small room at my parents' apartment in Tokyo. At the time, I hadn't experienced a real rave, and my exposure to the culture was limited to the information I could find on the early internet. As a result, the music I created was inspired by an imagined rave scene, capturing the essence of something both distant and exciting.” - Yuri Suzuki
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Often touted as a "masterpiece of jazz-funk live albums," The Wooden Glass's 1972 live recording proves it's more than just hype. Featuring vibraphonist Billy Wooten who previously played with Grant Green, this record was recorded at Indianapolis' The 19th Hole club and captures the essence of fusion driven by soulful 60s influences. Wooten's gentle melodies contrast with the gritty, distorted sound of Harold Cardwell's powerful drumming and Emmanuel Riggins' Hammond organ while the energetic performance from the band, including guitarist William Roach, creates a tapestry of intensity and dreamlike vibes. It's raw, electrifying, high-energy jazz.
GOODWIN, das Soloprojekt des The Slow Show-Sängers Rob Goodwin, hat das Debütalbum 'PEEKABOO' angekündigt, das am 19. September 2025 über PIAS Recordings veröffentlicht wird. An Goodwins Seite ist dabei Lambert, der mysteriöse, maskierte Pianist und Komponist, der u.a. für seine Zusammenarbeit mit Künstlern wie Nils Frahm und Ólafur Arnalds bekannt ist.
'PEEKABOO' geht über die cineastische Wucht seiner Band hinaus und liefert etwas Intimeres und Ungeschliffeneres. Eine Sammlung zutiefst persönlicher Songs, die in stillen Momenten entstanden sind und in Berlin-Neukölln mit Lambert geformt wurden. Als Produzent bringt Lambert seine Handschrift - sowohl spielerisch als auch tiefgründig - in 'PEEKABOO' ein. Er verwebt eindringliche Pianos und Arrangements mit Goodwins intimem Storytelling und lässt jeden Song in seinem eigenen ruhigen Raum atmen. Gemeinsam geht es auch auf 'PEEKABOO' Tour im Herbst.
Getragen von Goodwins unverwechselbarem Bariton - einer Stimme, die sowohl zärtlich als auch donnernd und voller Sehnsucht ist - entfalten sich die zehn Songs wie eine Reihe stiller Bekenntnisse. Inspiriert von den stimmungsvollen Atmosphären von Leonard Cohen und Nick Drake, behandeln die Lieder das Gewicht von Liebe, Verlust und stiller Tapferkeit. Romantische, traumhafte Geschichten für Menschen, die verstehen, dass manchmal die kleinsten Momente die größte Bedeutung haben. “These songs are fragments of myself. Sharing them feels exhilarating and terrifying, as vulnerability often does.”
SCHWERT AUS HOLZ“ klingt euphorisch, leicht und positiv. Bei aller Holz-Melancholie, erlauben es sich die DONOTS, sämtliche Songs neu zu denken mit anderem Vibe, neuen Rhythmen, alternativen Melodien und trotzdem immer mit genügend Grip und auch Drive - denn schnelle Songs wie der Live-Klassiker „Dead Man Walking“ oder der heimliche Sommerhit „Problem kein Problem" treten auch auf dem Akustikalbum durch den Holztisch. Frischen Wind pusten aber nicht nur die neuen Arrangements durch das DONOTS eigene Heavy Kranich Studio, in dem die Songs in diversen Sessions neu gedacht und recorded wurden. Die DONOTS haben sich alte Freund:innen und Wegbegleiter für diverse Gänsehautmomente eingeladen.
So ist aus dem DONOTS Hit „Stop The Clocks“ ein Duett mit Campino von Die Toten Hosen geworden, während Kuddel von Holst (ebenfalls Die Toten Hosen) ein wunderschönes Gitarrensolo zum ersten neuen englischsprachigen DONOTS Song in 13 Jahren eingespielt hat. Frank Turner darf in der Neuauflage von „So Long“ selbstredend nicht fehlen, Chuck Ragan von Hot Water Music und Matt Hensley von Flogging Molly empfehlen sich mit Reibeisenstimme und Akkordeon und Shitney Beers singt auf ihre wunderbare Shoegaze Art und Weise das Intro zu „Keiner kommt hier lebend raus“.
Die Vorab-Singles „Allein zu allein“ und „Problem kein Problem“ haben schon diverse Herzen eingesammelt und das „SCHWERT AUS HOLZ“ dürfte sämtliche restlichen Herzkammern fluten - auch auf der restlos ausverkauften Vorab-Akustik-Tour zum Albumrelease. It’s a love thing…
'Osborne' is a rock n roll recovery album for the opioid age, inspired by Trapper Schoepp's own struggles with addiction. It was produced by Mike Viola (Andrew Bird, Jenny Lewis) & Tyler Chester (Madison Cunningham, Iron & Wine, Jackson Browne). After relying on prescription painkillers and other substances for a decade, Trapper checked into the Hazelden Betty Ford rehab center near his birthplace in Minnesota last year. Fittingly, the rock n roller was placed in the 'Osborne' unit - a letter off from Ozzy's surname but appropriated as such to honor the former Hazelden patient.
JUST. LIFE. is FDC's second endeavour after their 2022 debut 'Some Kind Of Wisdom'. The A-side draws inspiration from everyday life. Things that are often overlooked. Birds whistling. Just being somewhere spending time together. Whereas the first 4 tracks open up a can of playful jazz the B-side explores more heavy conceptualizations. Birth and love for a child & the passing of a friend. Life and death. The cyclicity of it all.
Fruit Distro Collective is a project by long-time friends Boris van der Hoff & Tristan Coco. Raised on boombap beats, schooled through Jazz composition and inspired by Afro & Latin styles. Pour some reel-to-reel tape sauce over it et voilá.
Indie-Store-Version Gold Coloured 2x12" Vinyl in Gatefold
Nach über drei Jahrzehnten Karriere und über zwei Millionen verkauften Alben bleiben PARADISE LOST die unangefochtenen Könige der dunklen Seite des Metal.
Die 1988 in Halifax gegründete Band wurde mit ihren frühen, bahnbrechenden Alben wie dem treffend betitelten „Gothic“ von 1991, einer Mischung aus Härte, düsterer Melodie und Atmosphäre, schnell als Pioniere des Gothic Metal bekannt. Sie waren nie eine Gruppe, die kreativ statisch blieb, und haben im Laufe ihrer Karriere unzählige Wege dunkler Musik erkundet, von schlammigen Doom-Death-Wurzeln über die Eroberung des Metal-Mainstreams mit den gewaltigen, satten Klängen von „Draconian Times“ von 1995 bis hin zu experimentelleren, elektronischeren Einflüssen. Sie haben so unterschiedliche Künstler wie CRADLE OF FILTH, HIM, GATECREEPER und CHELSEA WOLFE beeinflusst.
Jetzt, im Jahr 2025, kehrt das Quintett aus Yorkshire mit seinem atemberaubenden 17. Album „Ascension“ zurück, einem Album, das ihre Krone weiterhin strahlen lässt und unterstreicht, wie sie ihre Position erreicht haben. Produziert von Gitarrist Gregor Mackintosh in den Black Planet Studios in East Yorkshire, mit Schlagzeug und Gesang aus den NBS und Wasteland Studios in Schweden, durchqueren die zehn Tracks die gesamte Klangvielfalt der Band – von knallhartem Heavy Metal bis hin zu himmelhohen Melodien – und bewahren dabei eine unwiderstehliche Moll-Melancholie.
„Die Leute sollten erwarten, dass wir noch trüber werden“, scherzt Frontmann Nick Holmes auf die Frage, was Fans 2025 von PARADISE LOST erwarten können. Die Erklärung des Albumtitels und der Texte macht jedoch deutlich, dass sie ihr Handwerk weiterhin beherrschen, wenn es darum geht, solche Erwartungen zu erfüllen. „Der Albumtitel entspringt dem Glauben an den Aufstieg zu einem besseren Ort, in der Fiktion von der Erde in den Himmel, und all den damit verbundenen Anforderungen“, führt er aus. „Im wirklichen Leben streben Menschen oft von Geburt an danach, an einen besseren Ort zu gelangen und ein besserer Mensch zu sein, ungeachtet der Tatsache, dass der einzige Lohn der Tod ist.“ „Die Texte handeln von allem, was das Leben uns entgegenwirft“, fährt er fort. „Es ist nie vorhersehbar und kann gleichzeitig auch erschreckend sein. Wie Menschen mit dem Tod umgehen, welche Krücken sie benutzen und wie der mentale Zustand von lebensverändernden Situationen beeinflusst wird, ist immer wieder faszinierend.“
Genau wie die Musik selbst. Der Album-Opener „Serpent on The Cross“ beginnt mit einem herrlich düsteren Riff, bevor er nach der Hälfte in donnernden klassischen Metal übergeht, angetrieben von Doublebass-Drumming und einem fast METALLICA-artigen Riff. In „Silence Like The Grave“ singt Nick „über die Sinnlosigkeit des Krieges, das Sammeln von Punkten für die Menschheit“, untermalt von perfekter Gothic-Metal-Kulisse. „Tyrant’s Serenade“ zeigt derweil die tief verwurzelte Fähigkeit der Band, Einfachheit gewaltig klingen zu lassen, gekrönt von Gregors charakteristischen, eindringlichen Gitarrenleads. „Lay A Wreath Upon The World“ beginnt als ruhige Elegie, bevor es zu einem traurigen Höhepunkt gelangt, und das Schlussstück „The Precipice“ führt mit Klaviermelodien, bevor es zu einem würdevollen Abschluss führt.
All dies zeigt meisterhaft die Bandbreite dessen, was PARADISE LOST geleistet haben und leisten können, auf eine Weise, die bis heute keiner anderen Band vergleichbar ist.
„Nach 35 Jahren ist alles bewusst“, sagt Nick. „Bei einem so umfangreichen und abwechslungsreichen Backkatalog ist es schwierig, nicht hundertprozentig sicher zu sein, woher alles kommt. Aber letztendlich kommt es einfach darauf an, ob uns die Musik gefällt, die wir machen. Wenn ja, bleibt sie! Das hat sich seit unserer Jugend nicht geändert.“ Ascension ist ein stolzer Bestandteil von PARADISE LOST. Das Elend hört nie auf, aber, sagt Nick, so mögen sie es eben. „Ironischerweise“, lacht er, „ist es immer am angenehmsten, miserable Musik zu hören – und zu schreiben, schätze ich.“
The undiscovered recordings of jazz pianist Fumio Itabashi's iconic work Watarase were compiled from the perspective of a pioneering figure in the Japanese jazz scene, Minoru Wakatsuki, and garnered widespread acclaim with Watarase ECHO. The second installment, Watarase VOICE, focused on "voice" and featured unpublished tracks with a diverse range of vocalists. Now, as the third volume in the series, the complete version of the 2001 performance of Symphonic Poem “Watarase” by the Kanagawa Philharmonic Orchestra, conducted by Kazuhiko Komatsu, with Fumio Itabashi and Yukki Kaneko, will finally be released! The full version could only be heard on VHS video at the time, and is now being released for the first time as a physical edition, making it a highly anticipated and long-awaited release.
To All That We Lose And All We Fight For is the debut album by Vera Logdanidi - the
culmination of nearly two decades of musical evolution. Her journey began in the world of drum & bass and jungle, gradually expanding into deep explorations of house, dub techno, and techno. Over the years, Vera has performed on leading stages across Ukraine and internationally, while also mentoring a new generation of DJs and producers, hosting radio shows, and supporting the scene through her label and community work.
This album was written during a time of deep upheaval. The outbreak of full-scale war forced Vera to leave behind a well-established life and begin again on the international stage. While the music often feels dreamy and introspective, To All That We Lose And All We Fight For is a profoundly personal record - a sonic refuge shaped by grief, uncertainty, and resilience.
The album doesn't follow formulas; it's driven by intuition, texture, and a genuine connection to sound. It's rich, emotional, and occasionally unexpected. The tracks form the core of Vera's current live set, which has resonated at major festivals such as Draaimolen or Strichka - captivating audiences with its depth and subtle, immersive energy.
The cover art, created in close collaboration with Vera's longtime visual team, is a real
photograph - not a digital effect. It captures the tension between anxiety and hope: a glance back, and a step forward into the unknown. This visual metaphor reflects the emotional landscape of the album - the fragility of what's been lost, and the courage to embrace what lies ahead.
This release also marks a new chapter for Rhythm Buro Records - one that moves towards music that is more personal, intimate, and unconstrained by expectations.
To All That We Lose And All We Fight For is released alongside another important Rhythm Buro release: RB011 - Your Curves EP by Na Nich. Ukrainian producer Oleksandr Pavlenko, formerly known as Sunchase, returns to his roots in broken beats and bass music, blending them with house and techno sensibilities. The four-track EP ranges from deep grooves to melancholic late-night moods - a compelling counterpoint to Vera's album and a testament to the label's evolving identity.
Order RB012 n
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Na Nich returns to his roots after a series of successful releases on respected labels such as Delsin, Semantica, On Board, and Fur:ther Sessions. The Ukrainian producer's latest EP pays tribute to his foundation in broken beats and bass music - the core of his craft before adopting the Na Nich moniker.
Co-founder of Rhythm Buro and formerly known as Sunchase, Oleksandr Pavlenko shifted from his decades-long bass music career towards house and techno about ten years ago. Yet those early influences never truly disappeared. On Your Curves, Oleksandr skillfully blends his bass-heavy legacy with the sonic palettes characteristic of his later work, merging two worlds into a cohesive sound.
The A-side opens with 'Unfulfilled Expectations', a deep roller rich with bass textures and mellow synths. It's followed by 'Everything', a slow burner infused with '90s vibes, featuring oldschool vocal samples and a drum pattern reminiscent of UK garage. On the flip side, 'Rain Inside' delivers the EP's grooviest moment, with broken beats crafted for the dancefloor and an intimate, close-your-eyes 4 a.m. mood. The title track, 'Your Curves', closes the EP with a deep and melancholic atmosphere.
This release stands out amid contemporary offerings, reminding listeners that essence always triumphs over form.
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Last delivered 12 months ago available to reorder, subject to availability
Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.
Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that_like many of the most arresting passages from the North Carolina band's highlight reel so far_thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record_it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman_founder, frontwoman, and primary lyricist_credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. "Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential `Wednesday Creek Rock' album," Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. "This is what Wednesday songs are supposed to sound like," she said. "We've devoted a lot of our lives to figuring this out_and I feel like we did." Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates _X andy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake "M.J." Lenderman (guitar) _ worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism_not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman's masterfully subjective approach to detail selection. Every image or scene is filtered through Hartzman's agile, writerly brain. The particulars deemed essential all contain revelations about Hartzman's specific obsessions and vulnerabilities, about the fragmented way she processes the world. Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else's.
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Last delivered 13 months ago available to reorder, subject to availability
múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.
For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.
On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.
Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.
Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.
múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.
For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.
On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.
Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.
Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.
múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.
For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.
On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.
Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.
Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.
Dutch-born, Belgian-based artist Chantal Acda has been releasing her music and touring internationally since 2006. Her impressive and eclectic catalog includes numerous band projects, collaborations, and solo albums. The 2024 album Silently Held, recorded with The Atlantic Drifters, is nominated in 2025 for an Edison Award in the Netherlands. Her upcoming album, The Whale, will be released on September 19, 2025, followed by an extensive European tour. The album was produced by Chris Eckman (The Walkabouts) and recorded with her live band, which she has been performing with for over a decade. The songs were co-written with band members Eric Thielemans, Alan Gevaert, Gaëtan Vandewoude, and Niels Van Heertum.
The sound of The Whale is rougher and more rock-oriented than her previous projects, but her signature introspection and vulnerability remain at the core of the music. Singles “Heads” and “Make It Work” have received airplay in Belgium, the Netherlands, the UK, and Germany.
In the past, Chantal has recorded and performed with artists such as Bill Frisell, Nils Frahm, and members of Low, Múm, and Efterklang. Currently, she is also a member of the bands Distance, Light & Sky (with Chris Eckman of The Walkabouts and Eric Thielemans) and Isbells.
Halima's debut album SWEET TOOTH is a bold declaration of power from an undeniable talent. Seductive, restless, and deeply assured, the record unspools like a night in motion. In the afterglow of her 2024 EP on drink sum wtr, praised by Clash Magazine, The Fader, BBC Radio, and others, the Brooklyn-based, UK/Nigerian musician solidifies her sound and expands it tenfold. If EXU was a spark, SWEET TOOTH is the full burn. Not so much genre-less as "genre-full"; the album spans a bright, lush world where club bangers meet deep ballads in a striking, fully-formed hybrid of honeyed Afro-pop and scorched R&B. Across its eleven tracks, Halima maps the push-pull of desire, transformation, and emotional reckoning. "Sweetness on my terms," she offers a mantra for reclaiming softness without surrendering strength. "The album is about the journey to reclaim one's self amidst the chaos of life and ultimately acts as a love letter to the pleasures and pain of these human pursuits." While SWEET TOOTH declares Halima's artistic arrival, she calls it an epilogue, a reflection on past behaviors and lessons learned. "Am I the person that I wanted to grow into becoming? I think so. I've given myself permission to be free of those things. To be bold. To take up space."
The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. Combining a vinyl record and a bilingual book, Pasé Bél Tan: Francophonies and Creolities in Louisiana celebrates this cultural legacy. It pairs historical recordings with contemporary reflections, inviting artists and scholars to explore this ever-evolving soundscape. Bridging a vibrant present with a painful past, it creates a space for dialogue around identity, memory, and the ongoing transformation of Louisiana’s musical traditions.
The double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music.
The book is a 272-page bilingual (French/English) publication that seeks to encapsulate the far-reaching implications of Louisiana’s musical heritage within both Louisianan and American society. It explores how this culture has shaped—and been shaped by—its surroundings. With contributions from many key figures of the scene—musicians, researchers, club owners, and other vital witnesses—it aims to present the intricate and singular relationship that exists between Louisiana and its music.
The book only is not available through distribution but only as a bundle with the 2LP version.
The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. Combining a vinyl record and a bilingual book, Pasé Bél Tan: Francophonies and Creolities in Louisiana celebrates this cultural legacy. It pairs historical recordings with contemporary reflections, inviting artists and scholars to explore this ever-evolving soundscape. Bridging a vibrant present with a painful past, it creates a space for dialogue around identity, memory, and the ongoing transformation of Louisiana’s musical traditions.
The double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music.
The book is a 272-page bilingual (French/English) publication that seeks to encapsulate the far-reaching implications of Louisiana’s musical heritage within both Louisianan and American society. It explores how this culture has shaped—and been shaped by—its surroundings. With contributions from many key figures of the scene—musicians, researchers, club owners, and other vital witnesses—it aims to present the intricate and singular relationship that exists between Louisiana and its music.
The book only is not available through distribution but only as a bundle with the 2LP version.
Following the "rich jangle and big, well-developed songs" (Bandcamp) of 2023's Bananasugarfire, Edling sought to deconstruct his creative process by centering collaboration instead of a more solitary pursuit in songwriting, even as personal matters made isolation a more natural instinct. He describes taking time to make notes of the ways, timing and forms in which songs came to him in the process of demoing the record, and regularly questioning if his approach was like that of "watching a pot of water boil" or waiting for a bolt of light to appear in the sky. In many ways, Shooting Star is an appeal to the muse, a record of "songs about writing songs" born from Edling's desire to trust his instincts despite the posturings of inner demons and creative roadblocks, and to celebrate the little wins along the way. The result is a sprawling new work packed to the brim with playful eccentricities and dynamism, one that owes as much of its inspiration to mid-century folkies like Michael Hurley and Karen Dalton as it does to alt rock of the nineties like Yo La Tengo and Stereolab. Shooting Star is a constellation of influences, experiences, reckonings-with the state of the world, with others, with creativity, with oneself-with no two songs created in the same way. Instead of holing up in a recording studio, the creation of the record was formed by a patchwork of collaborations in a variety of recording locales, all which were later alchemized by mix engineer Matthew Schimelfenig. - RIYL Sparklehorse, John Cale, Yo La Tengo, Superviolet, Spirit of the Beehive, Horse Jumper of Love, Of Montreal
Directly from the Many Records files, an iconic italo disco track from early 1985 written and arranged by Enzo Vallicelli (the man behind great hits from Cruisin' Gang of Max-Him). No remixes or updates are needed for this track, it still sounds as fresh and powerful as the day it was released.
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Last delivered 11 months ago available to reorder, subject to availability
Waxwork Records, in association with WaterTower Music, is proud to present BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman!
Director Tim Burton once again teams up with composer Danny Elfman to create chaotic and fantastical music for the Ghost with the Most!
Though very few of his collaborations with Burton are sequels, Elfman jumped at the chance to revisit his work from the original Beetlejuice.
After 36 years, it was easy for him to get into the mindset he found in 1988. Speaking to Forbes, Elfman said that getting “the chance to jump
back into the same playground” with Beetlejuice Beetlejuice after all these years was “a real treat.”
Beetlejuice is back! Oscar-nominated, singular creative visionary Tim Burton and Oscar nominee and star Michael Keaton reunite for
Beetlejuice Beetlejuice, the long-awaited sequel to Burton’s award-winning Beetlejuice.
Waxwork Records is excited to present the debut vinyl release of BEETLEJUICE BEETLEJUICE Original Motion Picture Score by Danny Elfman as a
deluxe double LP featuring Pink and Violet Hand Poured colored vinyl, artwork by Ruiz Burgos courtesy of Bottleneck Gallery, heavyweight
reverse board packaging, and an 11"x11" art print insert.
These albums are the end result of a collaboration between Cartridge 1987 and the YouTuber Edward who created the YouTube channel "Retro Discovery". With over 200,000 subscribers, this YouTube channel aims to highlight everything related to the "Retro Gaming" culture and the nostalgia that surrounds it.
These albums put together all the musical credits of the 3rd and 4th seasons of Edward's YouTube channel. All the remixes come from the games featured in Edward’s videos.
This is like a tribute to the original composers of these tracks, who have carried these videogames even further than expected, thanks to their musical talents.
Nach ihrem gefeierten Comeback-Album im Oktober 2024 melden sich Propaganda mit einem elektrisierenden Remix-Album zurück: Remix Encounters - eine klanggewaltige Hommage an ihr eigenes Werk, neu interpretiert von internationalen Größen wie Moby, Tangerine Dream, Rhys Fulber, Schiller und vielen mehr. Veröffentlicht auf Bureau B, vereint dieses Album die kreative Energie einer neuen Generation mit der visionären Kraft von Propaganda. Was als einzelne Remix-Anfrage begann, entwickelte sich zu einem globalen Projekt - von Düsseldorf über Helsinki bis Los Angeles. Jeder Track ist ein eigenständiges Kunstwerk, das elektronische Subgenres wie EBM, Ambient, House, Industrial und Rave aufgreift und neu verbindet. Remix Encounters ist mehr als ein Remix-Album - es ist ein Statement. Eine Feier der Transformation, der künstlerischen Freiheit und der ungebrochenen Relevanz einer Band, die seit ihrem Debüt A Secret Wish 1985 elektronische Musikgeschichte schreibt.
if we think about what's the best italo disco label considering the number of release and success, Hole Records would be on the top three of each italo disco lover. Aimed by Mikki Chieregato and Roberto Turatti, every single release on the label is a gem. Joe Yellow, Den Harrow or Stylóo started an succesfull carreer on the label but also Fred Ventura. He was the vocalist of Flexxy-Ball. Produced by Chieregato and Turatti and bring it to light at the Manlio Cangelli studio Love Theme From Flexxy-Ball, Love Theme from Flexxy-Ball is a record that can be missed in any italo shelf.
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Last delivered 8 months ago available to reorder, subject to availability
Soulful and radiant, ALA.NI shines in Sunshine Music. Ten years after "You & I", which left a mark in France and internationally (with collaborations including Iggy Pop, Lakeith Stanfield, and Jon Batiste), the golden-voiced Londoner returns with a new album blending vintage tones and Caribbean influences. Shaped by a two-year stay in Jamaica, the musician delivers eleven timelessly elegant tracks infused with the laid-back charm of life surrounded by lush nature. Calypso, ragga, bossa, rocksteady... In this new album, ALA.NI allows herself subtle rewritings of the most emblematic Caribbean rhythms, with interpretations that go as far as Brazil. Her crystalline voice dances, with jazz inflections reminiscent of Sade Adu and Minnie Riperton.
Mit ihrem vierten Album voller Eigenkompositionen lädt die eigenwillige Singer-Songwriterin Kendra Morris dazu ein, in die DIY-Kaleidoskopwelt von Next einzutauchen. Morris' neuestes Album für Karma Chief verzichtet auf vielschichtige Produktionen und glatte Sounds und präsentiert Kendra von ihrer authentischsten Seite, mit einem kreativen Prozess, der lebendig, schön und chaotisch ist und von Herzblut und der unvollkommenen Perfektion des Augenblicks getragen wird. Als Konzeptalbum in umgekehrter Reihenfolge verbindet ,Next" Kendras Figuren mit einem Vintage-Brettspiel im Stil von Milton Bradleys besten Retro-Würfelspielen. Begeben Sie sich auf die Reise von Block zu Block durch Next, und dieses Universum offenbart sich Ihnen. Sie können hören, wie die Klangpalette mit Morris' Einflüssen und Inspirationen mitschwingt. Jahrzehntelange New Yorker Klänge und Stimmen verschmelzen an den Nahtstellen dieser Tracks - eine Welt, in der das Brill Building und Warhols Factory im selben Block florieren, während Blondie und die Frightnrs rockige Sounds erkunden. Doo-Wop und Boom-Bap untermalen den Cut-and-Paste-Stil eines UHF-Senders, während Morris, eine Künstlerin, die sich hinter der Kamera genauso wohlfühlt wie vor dem Mikrofon, das Tempo vorgibt. Kendra Morris und Karma Chief Records laden Sie ein, mit Next mitzuspielen, einer akustischen Reise, auf der Würfeln für Spannung und Abenteuer steht. Es ist Next, komplett mit 10 Tracks und stundenlangem Spaß für die ganze Familie. Einige Teile müssen zusammengebaut werden. Plattenspieler, CD-/Kassettenplayer oder Streaming-Dienst sind separat erhältlich.
Mit ihrem vierten Album voller Eigenkompositionen lädt die eigenwillige Singer-Songwriterin Kendra Morris dazu ein, in die DIY-Kaleidoskopwelt von Next einzutauchen. Morris' neuestes Album für Karma Chief verzichtet auf vielschichtige Produktionen und glatte Sounds und präsentiert Kendra von ihrer authentischsten Seite, mit einem kreativen Prozess, der lebendig, schön und chaotisch ist und von Herzblut und der unvollkommenen Perfektion des Augenblicks getragen wird. Als Konzeptalbum in umgekehrter Reihenfolge verbindet ,Next" Kendras Figuren mit einem Vintage-Brettspiel im Stil von Milton Bradleys besten Retro-Würfelspielen. Begeben Sie sich auf die Reise von Block zu Block durch Next, und dieses Universum offenbart sich Ihnen. Sie können hören, wie die Klangpalette mit Morris' Einflüssen und Inspirationen mitschwingt. Jahrzehntelange New Yorker Klänge und Stimmen verschmelzen an den Nahtstellen dieser Tracks - eine Welt, in der das Brill Building und Warhols Factory im selben Block florieren, während Blondie und die Frightnrs rockige Sounds erkunden. Doo-Wop und Boom-Bap untermalen den Cut-and-Paste-Stil eines UHF-Senders, während Morris, eine Künstlerin, die sich hinter der Kamera genauso wohlfühlt wie vor dem Mikrofon, das Tempo vorgibt. Kendra Morris und Karma Chief Records laden Sie ein, mit Next mitzuspielen, einer akustischen Reise, auf der Würfeln für Spannung und Abenteuer steht. Es ist Next, komplett mit 10 Tracks und stundenlangem Spaß für die ganze Familie. Einige Teile müssen zusammengebaut werden. Plattenspieler, CD-/Kassettenplayer oder Streaming-Dienst sind separat erhältlich.
