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Michael Bublé's 2007 album will be available on limited edition Cobalt Blue colour vinyl. With its finger-snapping big band arrangements, the album has its share of homage to Frank and Dino while being decidedly contemporary. Includes stylistically adventurous versions of songs by Eric Clapton, Leonard Cohen, and Willie Nelson as well as an original song by Bublé called "Everything.”

On "Not Around But Through", Portland-based experimental musician and tape wizard Amulets
 navigates the process of acceptance and the tumultuous journey of looking within. Over the course of 8 tracks he explores the emotional path of moving through rather than circumventing, in the process soundtracking a purposeful desire to face trauma and vulnerability.

Infusing his trademark ambient soundscapes with ambitious blends of post-hardcore, emo, and metal, "Not Around But Through" connects the dots between personal and social dislocation, leaving us with a taste of the fragmented and fallen future we are all steeling ourselves for. Traversing a landscape that varies from gentle and meandering to explosive and cathartic, Amulets uses cinematic tension and relentless attention to detail to construct his sonic apparitions. On "Lifelike" he collaborates with Midwife, incorporating Madeline Johnston's voice into a song that pulsates with post-shoegaze transcendent energy.

Amulets is the solo project of Portland-based audio + visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music.

Kyle Falconer, prämierter Songwriter und Kopf der schottischen Indieband The View, bringt auf "The One I Love The Most" neue Acoustic-Versionen von Songs aus dem umfangreichen The View- und Solokatalog aus fast zwei Jahrzehnten (vom No.1 Debütalbum "Hats Off To The Buskers" (2007) bis zum Top-10-Comebackalbum "Exorcism Of Youth" (2023)), die alle nach Frauen benannt sind. Immer schon von der weiblichen Muse inspiriert, erzählt Kyle von guten Zeiten der Liebe und Lust, von schlechten Zeiten der Reue und des Kummers, von überlebensgrossen Charakteren ("Madonna") und fiktiver Verspieltheit. Bei dem ansonsten reduzierten "Lucy" fügt Rapper PROSE aus Manchester seine messerscharfen Reime hinzu.

The Young Mothers return with their third album, Better If You Let It, blending a genre-defying mix of jazz, hip-hop, punk, experimental rock, and electronic music. Formed by Norwegian bassist Ingebrigt Håker Flaten in Austin, Texas, the band’s sound is shaped by the diverse musical backgrounds of its members, hailing from both the U.S. and Norway. With influences spanning from Texas’ vibrant hip-hop and punk scenes to Norway’s experimental jazz traditions, the band creates a powerful fusion that feels cinematic and unpredictable.

The lineup includes Jawwaad Taylor (trumpet, rhymes, electronics) and Jason Jackson (tenor and baritone sax) from Houston, Stefan Gonzalez (vibraphone, drums, percussion, voice) from Dallas, Frank Rosaly (drums, electronics) from Chicago and Amsterdam, and Håker Flaten (bass) from Norway.

This global roster brings together a dynamic, cross-cultural sound, with Better If You Let It showcasing their most cohesive and wide-ranging material yet. Recorded in Oslo and set for release on Sonic Transmission Records, the album is a bold statement, proving The Young Mothers’ ability to push musical boundaries across genres and geographies.

Koldbrann's 4th album black vinyl repress. After an almost decade-long period of dwelling in the shadows, Koldbrann returned with a series of select festival appearances in 2022/23, premiering new material and proving that they're still full of cold grimness and misanthropy, and completely void of compromise. After last year's 2-track 7" single "Den 6. Massedod (Manna fra en annen himmel)", their long-awaited 4th album "Ingen Skånsel" is ready to be unleashed - and Koldbrann is sounding rawer, harsher and better than ever. Even though deeply rooted in the True Norwegian Black Metal tradition, Koldbrann has carved out their own sound within the genre confines and it sounds fresh, raw and different. There's a fierce nerve running through the album, and the songs stand out from today's typical black metal sounds. You can feel the aggression throughout the whole album. "Ingen Skånsel" is one of the most interesting, aggressive and fierce Norwegian black metal albums in modern times!

The prolific and internationally renowned Dancehall artist, Blaiz Fayah, announces the release of his new album "Shatta Ting" on February 21, 2025.

For his new album "Shatta Ting," Blaiz Fayah returns with pure Shatta instrumentals. Produced between Martinique, Paris, the Netherlands, and Spain, the album is built on collaborations with top Martinican beatmakers like DJ Glad, Mafio House, Gyzmo, Mikado, B Mad, as well as, of course, Kybba, Tribal Kush, and Limitlezz from the Basshall Records team. Over the years, Blaiz Fayah has forged a strong artistic bond with these talented beatmakers, whose productions are the starting point for each of his tracks.

"Shatta Ting" features two standout collaborations: one with the bad queen, Maureen, on the track "Money Pull Up," and another with the singer Le Jèm’ss, a leading artist of the new generation, on the song "Whole A Dem." Blaiz Fayah shares a common artistic vision with Le Jèm’ss, who is also the first signing to his new label, Mad Ting Records.

To accompany the album's release, Blaiz Fayah will embark on a world tour with his musicians and dancers, performing in France, Europe, Canada, Latin America, and East Africa. The highlight of this tour will be a unique show at the Olympia on January 31, 2026, promising a new performance, fresh arrangements, and plenty of surprises!

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

Italian composer and saxophonist Laura Agnusdei returns with “Flowers Are Blooming In Antarctica” a career defining record that sees the artist diving into uncharted waters, a profound timeless meditation on our relationship with planet Earth, the eco-conflicts arising and the fascination with non human forms of life, backdropped to a vivid soundtrack of coral exotica, spiritual Jazz, fourth-world minimalism, tropical electronics, tribal futurism and contemporary elegance.

Every step of Laura Agnusdei’s path, from electroacoustic experimentation to her constant research based upon the acoustic dimension of wind instruments and their interaction with polymorphic electronic sounds, seems to have pivoted into a new sense of awareness, as if the mind and intellectual practice has finally caught up with the body, the heart and the soul, resulting in her most organic and transcendent work yet. “Flowers Are Blooming In Antarctica” is loosely inspired around a trifecta of pioneering ideas that explore unconventional reality: James Bridle’s ‘Ways Of Being’ with his radical story that mixes ecology, tech and intelligence; Luigi Serafini’s late-70s fantastical ‘Codex Seraphinianus’, an unparalleled collection of flora, fauna, anatomies metamorphosed into new fragile beings; J.G. Ballard’s climate-fiction foreshadowing sci-fi ruminations. These influences shift Agnusdei’s musical trajectory injecting doses of terrestrial malaise, the earthy sub-saharan ‘Ittiolalia’ with its wah-wah filtered sax and trance inducing groove; the rubbery playfulness of ‘Oasi Bar’; the gentle eco-system of ‘P.P.R.N’ reminiscent of Herbie Hancock’s innovative synthesis of funk, space and synthesizers; the kaleidoscopic northern lights of ‘Emperor Penguin Lullaby’, where south-east Asian echoes reach icy shores; the Jon Hassell hyper-ambience of ‘Cuttlefish REM Phase’; the post-apocalyptic march of ‘The Drowned World, a jazz standard for an artificial civilization on the brink of self-destruction. Nothing feels out of place and it’s no coincidence that one of the most powerful messages on the record is delivered on centerpiece ‘Are We Dinos?’ via an interview conducted with two preschoolers. Radical optimism or sonic liberation?

Laura Agnusdei’s tenor sax cuts deep all across “Flowers Are Blooming In Antarctica”, a laser baton raised up to the clouds, a conductor orchestrating devotional soundscapes for a three-eyed dolphin, guiding us through prismatic pastures and acidic oceans. Her tropicalized realm is pin-pointed with Miles-like sheer clarity, a bristling nakedness on the verge of exploding at any time, creating an album where ascension becomes the unifying code.

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

In den frühen 1960er Jahren übte Paris eine magische Anziehungskraft auf amerikanische Jazzmusiker aus.
Zu den Stars, die sich dort vorübergehend niederließen, zählten u.a. der Tenorsaxofonist Dexter Gordon,
der Pianist Bud Powell und der Schlagzeuger Kenny Clarke. Auf diesem Album von 1963, das oft als
Dexters bestes bezeichnet wird, interpretieren die drei zusammen mit dem großen französischen Bassisten
Pierre Michelot traumhafte Bebop-Klassiker und Balladen.

Lucien Kimono fully composed the original soundtrack for Season 2 of Amours Solitaires, which aired on Arte and France TV in November.

Initially a popular Instagram account before becoming a French Euphoria-style drama, the series follows the romantic wanderings of its young protagonists. From ultra-modern synthetic arpeggios to warm, nostalgic Rhodes melodies, 18 tracks map out their joys, sorrows, and orgasms.

"With their dulcet fusion of ‘60s French ye-ye pop, slinky Studio One reggae, and liminal Brazilian tropicalia, Claude Fontaine’s songs embody the best kept dreams of a globally connected world. The second album from the Los Angeles artist reflects the dream of creating the soundtrack for this utopia by the sea.

Released on Innovative Leisure, La Mer is a mesmerizing portal. It’s impossible for it to exist outside of the modern moment, but it floats on the gilded dust of the past. At times, Fontaine channels Jane Birkin as backed by Jorge Ben. Francois Hardy locked into sonic reverie with Mulatu Astatke, or Margo Guryan making lovers rock.

None of this is a happy accident. For her second opus, Fontaine assembled some of the most gifted musicians of the last five decades. First and foremost is her co-writer and producer, the multi-platinum Grammy-Award winning Lester Mendez, whose resume includes everyone from Grace Jones and Baaba Maal to Shakira and Nelly Furtado.

As with Fontaine’s self-titled first album, the legendary Tony Chin appears on guitar, bringing the orphic tones expected from someone who has played with some of the greatest reggae musicians of all-time (King Tubby, Dennis Brown, Lee Perry, Jackie Mittoo, Max Romeo, Sly & Robbie). On bass, there’s Ronnie McQueen, one of the co-founders of Steel Pulse. Sergio Mendes’ percussionist, Gibi Dos Santos, supplies propulsive locomotion. So does Ziggy Marley’s drummer, Rock Deadrick. And that’s just the abridged list of storied instrumentalists who appear on La Mer."

DOVS are the duo of Vienna’s Johannes Auvinen, aka Tin Man, and Mexico City’s Gabo Barranco, aka AAAA. Psychic Geography is their second album together, but it differs considerably from both their respective solo work and their 2019 debut LP together, Silent Cities: Where that album’s hardware-based acid kept its gaze focused squarely on the dancefloor, Psychic Geography is a strictly ambient affair.

The album has its roots in a trio of beatless tracks that peppered Silent Cities; this time, the duo decided to try making an entire album with no drums. “It opened up the chance to make a different, more narrative style of music with more complex structures,” Auvinen says. Ambiguity and uncertainty are key watchwords for their music, which moves with eerie, liquid grace. Untethered from 4/4 kicks, their music drifts and morphs; familiar acid sequences give way to surprising shifts in tone and mood. And with no drums to distract the ear, the seeming simplicity of their silvery synth lines opens up to reveal remarkable depth and dynamism.

Barranco and Auvinen recorded the album together in the studio utilizing machines like the Roland TB-303, Juno G, Prophet 5, Elektron Octatrack MKII, Make Noise DPO and René, Mutable Clouds, Roland SH-101, Behringer TD3, and Sherman Filterbank. Listen on good speakers or headphones, and you can tell: Their gear yields a tonal richness that recalls the ambient and cosmic music of decades earlier. You can practically feel the heat from their circuits warming the air.

The meaning behind the name DOVS is as ambiguous as the duo’s music. (Dig, if you will, the picture of Picasso’s dove of peace—or, perhaps, the outline of a bird pressed into a small white pill.) But Psychic Geography needs little explanation. DOVS’ album is a collection of mental maps of imaginary places. Set your coordinates for the mirage on the horizon and prepare to dissolve.

'BOSTICH PT.1' – A hot Chicago House flip on this legendary classic by Swiss synthpop band Yello! Some unexpected editing surprises in this one! The groove will have you from the start! 'OPTIMO' – A highly energetic rework of this classic from American dance-punk band Liquid Liquid, with a percussion section that uses the snare drum, bass kick drum, cowbell, and claves that all combine for insane repeated drum rolls! A hot sure shot for the dancefloor!

Cratebug is a Chicago Dj, Producer & Remixer. His remixes and edits are hot gold and have found their way into the mixes and live sets of COUNTLESS djs all over the world. Most notable and well-known among fans & supporters of Cratebug’s work include: Derrick Carter, Jamie 3:26, Honey Dijon, Frankie Knuckles (RIP), Louie Vega, Scott K., Kenny Dope Gonzalez, Dimitri From Paris, Boris Dlugosch, Francois Kevorkian, Danny Krivit, Moodymann (Kenny Dixon Jr.), Theo Parrish, Master Kev, Moon Boots, Jackmaster (Jack Revill), The Martinez Brothers, Doc Martin, Mark farina, KON, Detroit Swindle, Radio Slave, Moodena, Luke Solomon, Jimpster, Alton Miller, Juan McClean, James Murphy, Alton Miller, Horse Meat Disco, Gene Farris, Jack The Box (Tyree Cooper & Bobby Starr), The Black Madonna, Jojo Flores, Marques Wyatt, Terry Hunter, Ricardo Villalobos, Kiko Navarro, Ted Patterson and MANY MORE!…

Choke Enough, das Studiodebüt des französischen Künstlers Oklou, ist eine geduldige, meisterhafte Umsetzung von ephermeralsoftclub-Elektronik und texturär verführerischem Indie-Pop. EigenschaftenBladee,
Untermalungen, mit Produktionen von Danny L Harle, A. G. Cook, Nick León und anderen. Ihr von der
Kritik gefeiertes Mixtape Galore führte sie auf Tourneen mit Caroline Polachek, Oneohtrix Point Never und
Sampha, bevor sie vom NME als ”Vorgeschmack auf die Zukunft der Popmusik” bezeichnet wurde.

Since 2013 - Brighton & Barcelona duo PAYFONE have been releasing records on respected NYC and UK labels GOLF CHANNEL , LENG and DEFECTED.

Now releasing on their own OTIS imprint - PAYFONE deliver another deep 12 in preparation for their debut album.
In September 2024 PAYFONE released their WILD BUTTERFLY EP which appeared in many best of 2024 end of year DJ charts whilst gaining the support from the likes of Richard Dorfmeister, Leo Mas and Daddy G.
Phil Passera and Jimmy Day's productions continue to gain fans across the disco world with a template of synth and bass that equates to a heady and intoxicating excursion into early electronic soul disco circa late 70's / early 80's.
Known for their atmospheric, mid-tempo sultry selections, PAYFONE offer up another deep dive of synth-driven drum machine pleasure with remix duties courtesy of San Francisco trio 40 Thieves: Corey Black, Layne Fox and Jay Williams.

Latest offering VOLT to VOLT is a moody meltdown of Moog bass and full frontal vocals featuring the talents of North Carolina's JO GABRIEL HARRIS and New York City's TERI JACKSON.

Always a cut above, this Payfone release will be VINYL ONLY.

Get with it !

Payfone have released over 16 individual 12" releases, including Phonica's 'Record of 2023 - 'I Feel You'

Universe Room is the eighteenth Guided By Voices album in ten years and packs a vast mix of energy levels and sounds into seventeen diverse tracks in less than forty minutes. The new record ventures into truly surprising territory, where barely any song segments and choruses are revisited and fidelity daringly shifts between lo-fi and hi-fi.

“I wanted to create, hopefully, an experience, kind of a wild ride, where the listener would want to hear it multiple times in order to grasp all the sections and fields of sound to discover something new with each listen,” says Robert Pollard. “I trimmed down the songs so that there wasn’t a lot of repetition, so you get a lot of sections that happen only once or twice.”

Universe Room embodies a realm of new horizons for Guided By Voices, who continue to redefine and expand as they blast off to unpredictable worlds.

The Dutch band Time Bandits, formed by Alides Hidding, had national and international success. In 1981 the Time Bandits scored a big dance hit with “Live it Up”, which ended up in the number 1 spot of the American Dance Charts.

Characteristic of the Time Bandits is the professional sound of funk, disco, soul and rock and the unmistakable voice and guitar sound of Alides Hidding. In 1983, the song “I’m Specialized In You” came in second in the dutch top 40. It was a monster hit with more than 90,000 copies sold in the Netherlands and 450,000 in France. The following single “Listen To The Man With The Golden Voice” also made it to the top 10.

In October 1983 the single “I’m Only Shooting Love” reached the top 10 while the band also continued to break through internationally. The single did very well in France, Portugal, America and Australia and reached the number 1 spot in the New Zealand single charts. The Time Bandits went on tour to Australia and New Zealand and another string of hits followed.

The “Endless Road” music video was filmed in Australia during the band’s 1985 tour. The video has been viewed over 2,5 million times on Youtube.

The vinyl edition of Greatest Hits features all their hits, various remixes and 3 fan-favorite bonus tracks; “Reach Out”, “Dancing On A String” and “Endless Road (High Energy Dance Mix by Ben Liebrand)”.

This is limited edition of 500 copies, pressed on transluncet pink coloured vinyl. This 2-LP set includes an insert.

Since their breakout 2012 self-titled debut album, the Lumineers have achieved some incredible milestones: twenty-four number one hits, billions of streams, packed global arena tours, multi-platinum releases, Grammy nominations, and, most important to core members Jeremiah Fraites and Wesley Schultz, numerous beloved, timeless songs. The band's fifth studio album ‘Automatic’, is being released in a music landscape that has become dominated by solo artists dependent on other writers. Schultz says being one of the few groups touring who write all their own material, is "a unique badge of honor." But that's not to say they won't collaborate with other artists; Schultz and Fraites have recently written and appeared on songs with pop icon P!nk, as well as rising singer-songwriters James Bay and Zach Bryan.

2023 was a whirlwind year for Oracle Sisters. The trio—Julia Johansen, Chris Willatt, and Lewis Lazar—followed the release of their debut album Hydranism with a globe-spanning tour that captivated fans and critics alike. From the highways between Knoxville and Nashville to sold-out clubs in rain-soaked Seattle, and festival stages across the UK, they logged countless hours on the road. Their journey was a tapestry of exhaustion and exhilaration, falling apart, brawls and disputes, love and acceptance. By the year’s end, just two days before Christmas, they found themselves in Tokyo, reflecting on the fleeting nature of time and the fragments of inspiration gathered along the way. It was there the seeds for their next album, Divinations, began to sprout. Composing as a true trio for the first time, Oracle Sisters pieced together sketches formed during stolen moments on tour. These fragments coalesced into Divinations, an album shaped by the band’s nomadic existence. The recording sessions spanned cozy Parisian studios, a barn in northern France, and the storied Valentine Studios in Los Angeles. Their creative process embraced experimentation—swapping primary instruments, playing with toy drum machines, and crafting melodies on quirky tools like the OP-1 and a baby Casio keyboard. This spirit of discovery lent the album a sense of spontaneity and wonder. At its core, Divinations channels mysticism and timeless storytelling. The band’s songwriting draws on diverse influences, from the surrealist poetry of Baudelaire and Rimbaud to the introspective philosophies of Carl Jung. Musically, echoes of Talking Heads, Air, and Leonard Cohen resonate throughout the album and tracks like “Riverside” delve into existential questions— “How far are you going? Is it more than money can buy?” Elsewhere on the album “Marseille,” born in the city that gave the song its name, kicks off as a trance with lyrics that play between the sincere and desperate self-help affirmations, we give ourselves while trying to find a bridge between our individual lives and a universal feeling. Lead-single “Alouette” is Oracle Sisters at their most direct; propelled by a driving bassline and exuberant strings, the track summons the sound of 80’s, 90’s, and early 2000’s rock n roll as they sing about “getting out of dodge, finding a pirate ship and sailing home.” Inspired by the book Caliban and the Witch, “Blue Left Hand” is a lyrical tapestry weaving together history, philosophy, and cultural critique. The lyrics, “It’s in the harbor of every page / It’s in the corner of the playwright’s stage / And every player and every fake / And every witch that we burned at the stake,” reflect on the forces that shaped the capitalist society we know today. Across Divinations’ 11 tracks it’s not only geographic boundaries that were crossed but also the boundaries of time and circumstance. While their work may not consciously reflect specific worldly events, they seek to embrace the universal and offer a space for healing. “Good music would make sense to a farmer in 17th century France as it would to a pastry chef in Slovenia in the 21st century,” shares Lazar. “It’s not written for any temporal powers that be. It’s about expressing our common humanity and taking it from there.” This intuitive approach fuels Oracle Sisters creative process - whether composing in a frozen French farmhouse or performing live with an ever-expanding lineup of collaborators, the band remains committed to exploring the unknown. Through Divinations, they hope to leave listeners feeling transcendent, levitating on waves of intuition and discovery.

The second outing of Johannes Volk for Running Back picks up, where Extra Dimensions left us: traditional techno components, an inclination for melodies, 80s electro(nic) pop and aesthesia for ecstasy. Something for everyone’s taste and nothing tacky.
Lightweave is like the conversation that Giorgio Moroder and Wolfgang Voigt never had („I Feel Sägezahn“). With a power plant of a bass line that’s pretty much all you need.
The direct connection to the EPs artwork is Cubistic Pathway. Painted with acryl on canvas as a birthday present, it’s like the title tracks little and playful brother and a homage to 16bit platform games like Turrican or Contra.
Fragments of Moments is the sort of piano-not-piano-house stomper that classic techno DJs love, while Sense of Wonder is one of those songs without vocals that appeals to 80(8)s-kids and their offspring.
Last but not least, Emotional Message and its hypodermic breakbeat dates back to 2011, wears the heart on the sleeve, and screams tearjerker, bear hug or elevation. If you can’t get enough of that, there are three digital bonus tracks, that mix, re-mix and fixate the topics you just read about. Volk’s populi!

Major-label debut by You Me At Six, Hold Me Down, was released on Virgin Records in January 2010, after the success of their debut album Take Off Your Colours - Released on vinyl for the first time, hear the album that cemented their reputation pressed on high-quality 180g vinyl. Taking their name from an abbreviation of the time they would meet, You Me At Six were formed in Weybridge, Surrey in 2004 by vocalist Josh Franceschi, guitarists Max Helyer and Chris Miller, and bassist Matt Barnes. Drummer Dan Flint joined in 2007. They first broke through at 2007's Slam Dunk Festival with their brew of heavy, melodic, emo-tinged rock, and after two self-released singles, the band signed to Slam Dunk Records. By 2010, they had signed to Virgin. Working with producers John Mitchell and Matt O'Grady, the band crafted 12 new tunes for Hold Me Down, including the singles Kiss And Tell, Underdog and Liquid Confidence which won Best Single at the 2010 Kerrang! Awards. The album reached No 5 in the UK chart, and fully established them on the vibrant UK rock scene. With a stable line up since 2007, You Me At Six have become one of Britain's most-loved bands, and announced recently that they will be splitting up after playing the Slam Dunk Festival in 2025, with Franceschi stating "Let's have the opportunity to say goodbye properly, versus slipping out the back door."

Black vinyl / 505mcn paper / Insert with extensive liner notes by Tony Higgins printed on 200 gram "Shiro Eco"paper and a special Manifesto with exclusive pictures printed on 90 gram Favini recycled paper.

Personnel:
Clarence Peter - Drum
Patrick Gauthier - Piano
Jean-Jacques Avenel - Bass
Steve Potts - Sax

Notes:
We're delighted to announce the reissue one the most sought-after European private press spiritual jazz albums: The Magnetic Atmospher by Clarence Peters Quartet. Never reissued in its entirety before, The Magnetic Atmosphere is a solid album of deep, post modal spiritual jazz that will appeal to fans of the Strata East, Tribe, and Black Jazz labels.
Resident in France since the 1970s, drummer Peter recorded the album with a French rhythm section: Patrick Gauthier on piano, and Jean-Jacques Avenel on bass. On sax is American-born Steve Potts, resident in France since 1970 and, like bassist Jean-Jacques Avenel, alumni of Steve Lacy.
The Magnetic Atmospher features four killer tracks, all composed by Peter. This is an opportunity to hear a truly remarkable record and sells for hundreds of dollars on the collector circuit. Long thought to be missing in action, we tracked Clarence Peter down and secured the license, direct from the man himself. (Tony Higgins)

half•alive ist eine amerikanische Indie-Pop / Rockband aus Long Beach, Kalifornien. Die Band wurde
2016 gegründet und besteht aus Leadsänger Josh Taylor, Schlagzeuger Brett Kramer und Bassist J. Tyler
Johnson. Mit der 2017 erschienenen EP 3 erweckten sie offziell das Leben und sorgten für einen spürbaren
Hype. Die mit RIAA-Gold ausgezeichnete Single „still feel.“ erreichte die Top 10 bei Alt Radio und wurde
weltweit 300 Millionen Mal gestreamt.
Ihr drittes Album ”Persona” zielt darauf ab, ein mutiges, zusammenhängendes und kompaktes Werk zu sein,
das Liebe, Wut, Sehnsucht, Krise und Entfremdung berührt. In 11 Tracks geht half•alive auch der Frage
nach, was es bedeutet, ein Mensch zu sein – wie sich Identität entwickelt und wie man von der Außenwelt
wahrgenommen wird. Die Band, die für ihre dynamische Optik und fesselnde Produktion bekannt ist, ließ
sich im Studio von Produzent Tommy King (HAIM, The 1975, Vampire Weekend) inspirieren. Am Ende
des Ganzen fordern sie dich heraus, die Frage zu beantworten: Schaust du oder siehst du?

As soon as Martin Circus was born in 1969, the band laid foundations for the French "Pop Musique" genre, deliberately turning its back on both French yéyés and rock'n'roll to better embrace psychedelia and the French language. In 1971, they were a pioneering, innovative group moving as fast as a speeding train, building upon everything they found on the way. However, faced with band members changing often, management issues and music evolution, Martin Circus ended up trying to fit in every style: soul, R&B, glam rock, disco, new wave, 80s mainstream music. To follow their journey is to listen to the world shifting along music charts. Behind the scenes, since the very first days of the band, one man had been pulling all the strings. Manager and artistic director Gérard Hugé used to work for both the band and the label - this has never been good news. What he cared about the most was getting records out, no matter who played on them. In the mid-70s, he registered the Martin Circus name, granting himself full power over the band. Deciding that it no longer had either a lyricist or a composer, he made the remaining musicians embark on a series of American 60s hits adaptations. As a result, they made tons of money : "Marylène" was a huge hit and gave them a new impulse. The Martins adopted a new look by wearing shiny Courrèges-style suits and platform boots, and on stage they performed dance moves choreographed by the eccentric Amadeo. They completely fit into the disco craze which was about to take over. Still, their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco with a soundtrack in the mannerof French disco groups such as Space and Voyage. Effortlessly, they released the epic 14- minute "Disco Circus", a track which was to become a real underground gem. DJ and remixer François Kevorkian then released it on the American Prelude label in a self-edited version, shortened to 7 minutes while retaining all the dazzling passages of the original track. It came to be a hit in the clubs of New York and Chicago, making a lasting impression on everyone who heard it. It got sampled on at least 40 tracks over the following decades and featured in dozens of bootlegs and prestigious compilations - by Laurent Garnier, Carl Craig, Juan Atkins, Joey Negro, The Beatnuts, The Rapture, and by Danny Krivit in the DJ culture film Maestro. As the 80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out. Their playing and arrangements were consistently flawless and polished, they relentlessly dedicated themselves to playing quality music and this can only compel admiration. As Coco Chanel once said, "Fashion goes out of fashion, style never does."

REPRESSED !!

Vibraphone and keyboard player, master arranger and bandleader, Mulatu Astatke is one of the all-time greats of Ethiopian music and the creator of his own original music form, Ethio jazz. Through the acclaimed Ethiopiques album series and through featuring on the soundtrack to the Jim Jarmusch film Broken Flowers, his music has belatedly reached a global audience and a new, younger generation of fans. In November of last year, he recorded an inspired new album with London psych jazz band The Heliocentrics for Strut's 'Inspiration Information' studio collaboration series. Now, Strut are proud to present, for the first time anywhere, the definitive Mulatu career retrospective covering his landmark 60's and 70's recordings.
Mulatu is a true pioneer of African music. He was the first Ethiopian musician of his generation to travel extensively and to record abroad - he studied in the UK in Wales and at Trinity College Of Music in London, cutting his teeth on the buoyant London jazz scene of the early 60's. He became the first African student to attend Harvard and he lived and recorded in New York, developing a unique sound that fused Western jazz with traditional Ethiopian melodies.
Tracing the progression of his Ethio jazz experiments with full access to all of the labels for whom he recorded, Mulatu Astatke: New York-AddisLondon is the essential Mulatu. Covering his first recordings in the UK during 1965, his groundbreaking fusions for the small Worthy label in New York and his key '70s recordings back in Addis on Amha, Phillips and Axum, the album features comprehensive sleeve notes by Miles Cleret, boss of the excellent Soundway Records imprint, and rare, previously unseen photos from Mulatu's personal archive.

Ein verspieltes Album mit klangschönen Träumereien, komponiert für Mandoline und Akkordeon, poetisch und unbändig zugleich. Es ist das erste Mal, dass der stets kreative Komponist speziell für die Mandoline geschrieben hat. Auf dem Album ist auch Vincent Beer-Demander zu hören, dessen Mandoline zu einem Orchester multipliziert wird, um eine einzigartige Klangpalette zu schaffen, die sorgfältig mit dem Akkordeon von Grégory Daltin kombiniert wird.

Mike Patton, der mit Vannier an dem 2019 erschienenen Album 'Corpse Flower' gearbeitet hat, sagt über die Veröffentlichung seines neuen Albums auf Ipecac: „Jean Claude ist ein guter Freund, Mentor und ein wunderbar talentierter und exzellenter Komponist. Eine Legende. Es ist eine große Ehre, mit ihm gearbeitet zu haben. Seine Texte und Arrangements haben eine Vielzahl von Künstlern beeinflusst, und ich kann mich zu den Glücklichen zählen, die seinen Weg gekreuzt haben. Er hat schon bahnbrechende Sachen geschrieben, bevor ich überhaupt geboren wurde. Er hat mich tief beeinflusst und ich bin ihm für immer dankbar und voller Ehrfurcht“.

Jean Claude Vannier, der von der Presse als „the rare bird“ bezeichnet wird, hat in den letzten 60 Jahren unter anderem mit Serge Gainsbourg und Jane Birkin sowie mit Künstlern wie Beck und Sean Lennon zusammengearbeitet. Er hat an unzähligen Soundtracks mitgewirkt, sechs Soloalben veröffentlicht und ist eine Ikone der französischen Popkultur, die für den Eurovision Song Contest komponiert, Videos gedreht, Gemälde ausgestellt, Radiosendungen moderiert und Kurzgeschichten veröffentlicht hat.

Nachdem sie gesehen haben, wie die Abholzung die Landschaft Costa Ricas bedroht, stecken Metalheads weltweit ihre Köpfe zusammen, um das Ökosystem der Welt zu erhalten.

Seit Gründung der Band im Jahre 2022 hat die 501 (c) (3) gemeinnützige Organisation 100.000 Quadratmeter Regenwald in Costa Rica geschützt. Savage Lands arbeitet mit lokalen und globalen Organisationen wie dem Jane Goodall Institute sowie mit vielen Entscheidungsträgern in der Metallindustrie zusammen. Auf „The Last Howl“ gibt es die Growls von John Tardy (Obituary) und hochfliegende Soli von Sepultura-Gitarrist Andreas Kisser. Heilung's Zeremonienmeister Kai Uwe Faust segnet den Black 'n' Roll von „Black Rock Heart“, während Maria Franz (ebenfalls Heilung) die melancholische Power-Ballade „No Remedy“ mit ihren beruhigenden hohen Tönen anmutig auflockert.

"Army of the Trees" führt mehrere neue Arten von Metalheads in das Ökosystem von Savage Lands ein. Die Eurovisions-Lieblinge Lord of the Lost versprühen bei „Out of Breath“ ihr Blut und ihren Glitter, und die Leadsingle „Ruling Queen“ wird von keiner Geringeren als Alissa White-Gluz von Arch Enemy mit ihren schlangenartigen Clean vocals und dem Gebrüll einer Löwin vorgetragen. „Jetzt ist es an der Zeit, Stellung zu beziehen“, brüllt die Band während des donnernden Titeltracks des Albums, der von Julien Truchan (Benighted) und anderen Säulen der französischen Metal-Gemeinde unterstützt wird, in einem wilden Schlachtruf.

Erhebt eure Hörner und schließt euch der Army of the Trees an, um die gemeinnützige Metal-Bewegung zu unterstützen!

The world became another since the release of »Decadent yet Depraved« and Belief Defect’s reflection of it: now darker, political, honest – end times in Cinemascope. When the duo reunited in the studio after the 2 year fracture COVID inflicted on reality, the album that had been on pause all this time seemed insufficient against whatever life had morphed into, while humanity hid from itself. Finishing an album coherent to the present moment took prolonged studio shut-ins that proved to be as cathartic as the struggle sessions of the cultural revolution must have been. »Desire and Discontent« unfolds like a parable, structured by subsonic frequencies that give arrangements a solid gravity, dissonant chord progressions resulting in coherent movements, punctuated by human-like voices over slow, suspenseful melodies that come into being without the listener’s awareness. Contributing to the album with machine-like precision drumming is Merlin Ettore, vocals from Anna Gartner and the artwork of Juan Mendez (Silent Servant).

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

With their name taken from an episode of the radio program The Goon Show, Ned's Atomic Dustbin formed in Stourbridge, UK, in 1987. They're known for using two bass-players in their line-up and creating a tense and highly driven sub-hardcore sound featuring distorted effects-laden guitar and energetic drums.

In 1992 they released their second studio album Are You Normal?. The album features their American hit song “Not Sleeping Around”, which hit the top of Billboard's Modern Rock Tracks chart. The album was produced by Andy Wallace, best known for his work with Slayer, Prince, Nirvana, Sonic Youth, Paul McCartney and so on.

Are You Normal? is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert.

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.