Suche:glas

Leuchtend rotes Vinyl | Gatefold | 180g | limitiert auf 200 Stück weltweit Die musikalische DNA der Edgar-Wallace-Filme - jetzt als streng limitierte Vinyl-Edition. Peter Thomas" Soundtrack-Klassiker verbinden Soul-Jazz, Easy Listening und psychedelische Spannung zu einem einzigartigen Hörerlebnis. Die Edition enthält Titel aus 17 Wallace-Filmen, darunter "Der Zinker", "Der Hexer" und "Die seltsame Gräfin", ergänzt durch rare Bonusstücke. Verpackt im stilvollen Gatefold mit Illustrationen von Adrian Keindorf. Ein audiophiles Denkmal für den Sound der deutschen Krimi-Kultur.

John Fogerty feiert die Songs, die Rockgeschichte geschrieben haben – zu seinen eigenen Bedingungen. Zum
ersten Mal besitzt er die vollen Rechte an seinem ikonischen Katalog. Legacy ist sowohl eine Feier als auch
eine Rückeroberung. Das Album enthält neu eingespielte Versionen seiner beliebtesten Songs und fängt
Fogertys rohe Energie und kreative Leidenschaft ein – pünktlich zu seinem 80. Geburtstag. Unterstützt
von seiner Familienband und getragen von einer neuen Welle der Anerkennung – von seiner Ehrung durch
Bruce Springsteen bei den American Music Honors bis hin zu mitreißenden Auftritten 2025 beim JazzFest,
Glastonbury, der Hollywood Bowl und vielem mehr – zeigt sich Fogerty so kraftvoll und lebensfroh wie eh
und je. Legacy ist nicht nur eine Hommage an eines der größten Repertoires der Rockmusik – es ist der
Klang eines amerikanischen Originals, das seinen Platz im Rampenlicht erneut einnimmt.

Different Class (originally released October 30, 1995) is Pulp's most successful album, achieving multi-platinum sales and international acclaim, winning the 1996 Mercury Music Prize and debuting at #1 on the UK Album Chart. It also produced four Top Ten singles, including ‘Common People’. Four months prior to the release of the album, the band headlined the Pyramid Stage at Glastonbury Festival on Saturday 24 June. To celebrate the 30th anniversary of what is widely regarded as one of the best records of the era, this legendary Glastonbury performance, the audio wholly restored and released here for the first time, has been paired with the remastered album (each cut over 2 LPs) and is released as a deluxe 4LP boxset.

The audio has been remastered/mastered by Geoff Pesche at Abbey Road, overseen by Jarvis Cocker and Mark Webber, and is presented in a sturdy slipcase with a comprehensive, 28-page booklet featuring extensive notes from new interviews with the band members, plus previously unseen images from photographers Rankin and Donald Milne (who took the photos for the original release) and the band’s own archives. The original ‘aperture’ sleeve design, which invited purchasers to “Choose your own front cover”, came with six double- sided inserts/art cards of alternative cover images depicting cardboard cutouts of the band members in a variety of situations.

This has been fully recreated and a 12” by 12” poster featuring miniatures of the cutouts themselves is also included.

Indo Warehouse presents ‘Bombay Acid’ on Crosstown Rebels, featuring Kunal Merchant and Raja Kumari. The hypnotic new single, fusing heritage and future-focused touches, lands with a remix from SYREETA

Making their debut on Crosstown Rebels, New York collective Indo Warehouse unveils ‘Bombay Acid’. The release is a collaboration between co-founder Kunal Merchant and acclaimed vocalist Raja Kumari, capturing the Indo Warehouse ethos: hypnotic grooves, ancestral textures,and underground energy fused into one expansive, ritualistic journey.‘Bombay Acid’ pairs Merchant’s meticulously layered production, melding deep, hypnotic grooves with textures drawn from South Asian musical traditions, with Kumari’s commanding vocals. The track unfolds as both a club-ready cut and an immersive ritual, bridging cultural heritage and contemporary electronic sounds. A Grammy-nominated rapper, singer, and classically trained dancer, Raja Kumari bridges Indian tradition with contemporary global music. She has collaborated with Timbaland, Dr. Dre, Gwen Stefani, John Legend, and Iggy Azalea, and has performed at Coachella, Wireless, and India’s NH7 Festival. Her imprint, Godmother Records, and projects such as ‘The Bridge’ (2023) and ‘Kashi to Kailash’ (2025) explore resilience and spiritual depth, making her one of the most distinctive voices in modern music.

On the flip, SYREETA delivers a striking rework. Authentic and fearless, the UK favourite has shattered glass ceilings while drawing on chunky basslines and energetic grooves from house and techno to craft her own sound and style. Her remix injects ‘Bombay Acid’ with that signature low-end punch, while driving and harnessing the track’s cosmic energy for late-night dancefloors.Kunal Merchant has spent years building a sound that is simultaneously drawn from his South Asian lineage and futuristic. From appearances at Coachella, Hï Ibiza, Fabric London, and Brooklyn Mirage, to releases across the Indo House spectrum, he has become a central figure in shaping the genre and bringing South Asian voices to the global electronic stage. Indo Warehouse, co-founded by Merchant and Kahani in 2022, has evolved from its underground origins in New York into an international movement. Their live shows are immersive experiences, rituals where identity, tradition, and club culture collide, and their releases continue to push the boundaries of house and techno while remaining deeply grounded in their origins. With ‘Bombay Acid’, Merchant and Kumari deliver a production that is both hypnotic and expansive, inviting listeners
into a universe where rhythm, culture, and underground energy meet in unison.

To mark the 20th anniversary of his cult classic debut album We Have Sound, multi-instrumentalist and creative iconoclast Tom Vek releases We Have Sound Remixed today via StrataSonic Records — a 10-track remix album in its original order that reimagines the influential original for a new era.

Led by remix singles from Dave Glass Animals, Everything Everything, and IS TROPICAL, the project is complete with a stacked lineup whose own sonic identities trace back to Vek’s genre-hopping, DIY spirit — including alt-J, Baths, Porij, and more.

We Have Sound is widely credited as one of the seminal albums that pioneered indie electronic music. Dave Bayley of Glass Animals calls the album “one of several responsible for us going on to make our music.” Gus Unger-Hamilton of alt-J adds, “I’ve loved this album since I was fifteen. Paul Epworth’s ‘Phones’ version opened my eyes to the art of the remix.”

We Have Sound Remixed, is a rare kind of tribute, curated by Vek himself, with each artist handpicked and invited to reinterpret the record that helped shape their creative DNA. The result is a celebration of We Have Sound not only as a pivotal album of the 2000s, but as a blueprint for the fusion of guitar music, DIY electronica, and sharp-edged pop that now defines a generation of UK and alternative acts. The project cements Tom Vek’s role as a cult figure whose music remains current — and deeply influential — two decades on.

Mit über 8,5 Millionen Followern in den sozialen Medien besitzt Alexandra Kay, die Hauptrolle in der
Netflix-Serie „Westside“, die seltene und außergewöhnliche Fähigkeit, eine echte Verbindung zum Publikum
aufzubauen, indem sie einfach sie selbst ist – mit gefühlvollen Melodien, ihrer „erfrischenden Art des
Geschichtenerzählens … maßgeschneidert für das Country-Genre“ (People) und ihrem „engelsgleichen, aber
dennoch erhebenden Gesang“ (American Songwriter). Der strahlende und hartnäckige Shootingstar, den
Billboard als „verständige, vielversprechende Singer-Songwriterin“ lobte, etablierte sich als eine Größe in
der Branche und veröffentlichte 2023 ihr Debütalbum „All I’ve Ever Known“. Das Projekt erreichte weltweit
Platz 1 der iTunes All Genre- und Country-Charts und sicherte ihr unabhängig davon einen Platz in den
Top 10 der Billboard Country Album-, Emerging Artist- und HeatSeeker-Charts.
Die bezaubernde Sängerin ist bereit, 2025 auf die nächste Stufe zu heben und gibt einen Einblick in ihr
zweites Album: die verträumte Romantik von „The Last“ und das ansteckend eingängige Mitsing-Stück
„Cupid’s A Cowgirl“. Nachdem sie gerade ihre „Cupid’s A Cowgirl“-Tournee als Headliner durch die USA
und Kanada beendet hat, macht sich der aufstrebende Star auf den Weg über den großen Teich zu ihrer
internationalen All I’ve Ever Known U.K. & Europe-Tournee, die in Amsterdam, Glasgow, Birmingham,
Belfast und Manchester bereits ausverkauft ist.

As a label, we are specialists in musical diversity. With our newest installment of the annual System 108 compilation we present you two parts of hand picked creative output by our friends, residents and dearest guests. Curated by the artist Ira Bespalova, the concept of both parts is simple and deep: the good, the calm, the kind is part 1 and all anti-heroes, filthy electro-armored jams is part 2. All together - another twist of the planet, another beat of our big heart, that became shelter and home home for a whole new tribe. It pumps, it creates, unites and warms up, kicks it real hard, no matter how tough it is. Part 1 is densely populated by our new kids on the block! Isktrit, TURBOSH, BORIS REDWALL, DJ Yesyes, Dominique Mara have been releasing singles, EP's and album during 2023 and became an integral part of the collective. Here you will also find good old friends Maksimovna, Lipelis, Kito Jempere. Very special Siberian inspired trippy workout by RLGN and Sasha Kustov, Luchshiy Drug. And a super special guest appearance starring Magnus Opus and mo?se?. The running order is curated as a narrative, as an album that takes you on a journey. But separately, it all works as singles, DJ tracks and tools. Welcome to Nine Years Of Love!

b 2Lose It (In the End) feat. Ghostface Killah & Mark Ronson


b 2Lose It (In the End) [feat. Ghostface Killah & Mark Ronson]


[b] Lose It (In the End) [feat. Ghostface Killah & Mark Ronson]


[b] Lose It (In the End) [feat. Ghostface Killah & Mark Ronson]

Zum 30-jährigen Jubiläum legen Kreidler zwei ihrer frühesten Werke neu auf: RIVA (1994) und das unbetitelte Mini-Album (1995). Beide Veröffentlichungen waren lange vergriffen und erscheinen nun remastered in einer hochwertigen Edition auf Bureau B. Die Aufnahmen dokumentieren die Anfänge einer Band, die sich seitdem als feste Größe zwischen elektronischer Musik, Post-Rock und Avantgarde etabliert hat. Die Düsseldorfer Kunstakademie, das Umfeld von Ratinger Hof und Creamcheese, sowie die Nähe zu Bands wie Kraftwerk, NEU! oder DAF bildeten den kulturellen Nährboden. Kreidler entwickelten daraus ihren ganz eigenen Sound: hypnotisch, reduziert, elegant.

Jubiläums-Ausgabe: Neu abgemischt und remastered. Enthält den neuen Song "Glass Houses". Mit neuem Artwork, kommt in O-Card-Schuber. Strung Out feiern im Jahr 2025 zwei wichtige Meilensteine: ihr 35-jähriges Bandjubiläum und das 20-jährige Jubiläum ihres bahnbrechenden Albums ,Exile in Oblivion". Dieses Album, das weithin als unverzichtbarer Punk-Hardcore-Klassiker gilt, wurde zu diesem Anlass neu abgemischt und remastered. Zur Feier des Tages hat die Band mit Hilfe von Kyle Black und Rob Ramos "Glass Houses" fertiggestellt, einen unvollendeten Song aus den ursprünglichen Aufnahmesessions. Exile in Oblivion zeigt Strung Out's charakteristische Mischung aus melodischem Punk, Hardcore und Metal-Elementen, die jetzt besser klingt als je zuvor. Während frühere Alben ihr technisches Können andeuteten, zeichnet sich Exile in Oblivion durch disziplinierte Gitarrenarbeit und schnelles Schlagzeugspiel aus, das immer dem Kern des Songs dient. Das Album wurde durchweg für sein kraftvolles Songwriting, die komplexe Musik und den dunkleren, aggressiveren Ton gelobt und festigte seinen Ruf als bedeutende Veröffentlichung sowohl in der Diskografie der Band als auch in der breiteren Melodic Punk/Hardcore-Szene. Indie-Handel exklusives Red & Yellow Swirl Vinyl!

First time on vinyl reissue of this indiepop classic, 15 years after its original release.

Living & Growing was the debut album from The Felt Tips, a Glasgow-based indiepop band that gloriously combined gritty lyrics with sublime jangly guitars. Set For October 17th Vinyl-Only Reissue On Unspun Heroes.

• A band synonymous with the 2010’s indiepop renaissance
• Ten melodious, infectious and utterly unforgettable songs
• Reissued for the first time on EcoVin™ Bio Vinyl

October might not appear to be the ideal time to release a bright and sunny set of songs, but autumnal days bring a mix of dark and light that perfectly matches the overall vibe of the debut album by the jangly indiepop band, The Felt Tips.
 
The Felt Tips debut album was originally released by Peruvian label Plastilina Records in 2010 to much acclaim in the international indiepop scene. The ten songs are crammed full of catchy melodies and chiming guitar riffs, with memorable lyrics covering everything from religious hypocrisy (Boyfriend Devoted) to what teenagers get up to in the park after dark (Lifeskills).
 
It’s clear that these four lads grew up listening to The Smiths – not only name-checking the 80’s indie darling’s frontman and his ever-expanding girth but also deftly leaning into similar unconventional lyrical themes. And while there’s an obvious Belle and Sebastian comparison being Scottish, musically the enigmatic and skillful guitar playing from Miguel Navarro owes more to Bernard Butler and Johnny Marr – and his talents learning flamenco guitar in his native Spain. The weaving of the guitar’s melodic musical backdrop, alongside the pulse of Kevin Carroll’s inventive drumming and Neil Masson’s intricate bass playing, is what truly elevates The Felt Tips.

 And it’s this juxtaposition of bright melodic tunes from the band and the exploration of the darker side of human nature conjured by Andrew Paterson’s lyrics makes The Felt Tips such a noteworthy addition to the indiepop scene.

Originally recorded at CaVa Sound in Glasgow, the album has been remastered and cut for vinyl by Guy Davie at Electric Mastering, and pressed on INEOS EcoVin™ Bio Vinyl at Press On Vinyl in Middlesbrough. New liner notes have been written by Roque Ruiz, the owner of legendary US-based indiepop label, Cloudberry Records. An extremely limited selection of the reissued albums will ship alongside a make-your-own cardboard rose sculpture created by London-based indie illustrator and maker, Hey Kids Rock ‘n Roll.

LIAM GALLAGHER „AS YOU WERE” LIMITIERTE AUFLAGE ALS ZOETROPE-VINYL VERÖFFENTLICHUNGSDATUM: 18. OKTOBER Anlässlich des National Album Day am 18. Oktober wird „As You Were” als limitierte Sonderauflage auf Zoetrope-Vinyl mit brandneuem, maßgeschneidertem Artwork und Packaging veröffentlicht. „As You Were“ wurde ursprünglich am 6. Oktober 2017 veröffentlicht. Das Album war ein kritischer und kommerzieller Erfolg, debütierte auf Platz eins in Großbritannien, verkaufte sich besser als alle anderen Alben der britischen Top-10-Charts zusammen und erreichte in der ersten Woche Goldstatus. Seitdem wurde es in Großbritannien mit Platin ausgezeichnet. Enthält die Singles „Wall of Glass“, „For What It's Worth“ und „Greedy Soul“. TRACKLIST Seite A 1 Wall of Glass 2 Bold 3 Greedy Soul 4 Paper Crown 5 For What It's Worth 6 When I'm in Need Seite B 1 You Better Run 2 I Get By 3 Chinatown 4 Come Back to Me 5 Universal Gleam 6 I've All I Need

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Grizzly Bear haben sich nie aufgelöst. In den sechs Jahren seit ihren letzten Auftritten haben sich die vier Mitglieder, die vor zwei Jahrzehnten als lose Freunde und sogar völlig Fremde zur Gruppe stießen – Chris Bear, Ed Droste, Daniel Rossen, Chris Taylor – anderen Dingen zugewandt. Sie haben andere Musik gemacht, andere Karrieren verfolgt, andere Familien gegründet und andere Leben jenseits dieser Band geführt. Und nun, zum ersten Mal seit 2019, kehren diese vier Musiker und Freunde zu Grizzly Bear zurück, um die Bande, die sie zu einem der fesselndsten und beliebtesten Acts dieses Jahrhunderts gemacht haben, auf die Probe zu stellen und zu sehen, wohin diese alten Verbindungen noch führen. Da sich Grizzly Bear nie aufgelöst haben, sind ihre ersten Auftritte seit sechs Jahren keine Reunion; sie sind Ankunft und Aufbruch zugleich, ihr nächstes Ziel noch unbekannt.

Diese Art von offenem Ansatz ist es schließlich, der Grizzly Bear noch immer zu einem der prägenden Acts dieses jungen Jahrhunderts macht. Vor zwanzig Jahren wandelten sie sich rasant von einem Lo-Fi-Songwriter-Projekt zu einer vollwertigen Band mit einem sofort einzigartigen Sound, unheimlichen Harmonien, die sich um Arrangements schmiegten, die den Glanz eines Kammerorchesters mit der Härte einer Rockband verbanden. Sie trugen dazu bei, die Möglichkeiten des Indie-Rock neu zu definieren, indem sie Üppigkeit mit Lockerheit, technische Exzellenz mit emotionaler Offenheit in Einklang brachten. Ihre musikalischen Spuren sind nach wie vor allgegenwärtig, Teile ihrer unorthodoxen Sicht auf Klang und Textur sind heute fester Bestandteil des musikalischen Erbes. Diese Songs im Jahr 2025 live zu hören, wird sich also weniger wie ein Händedruck mit der Vergangenheit anfühlen, als vielmehr wie das erste Mal, ihre Fingerabdrücke in der Gegenwart zu sehen.

Begleitet werden diese Live-Shows von Neuauflagen der Alben Yellow House, Veckatimest, Shields und Painted Ruins auf farbigem Vinyl.

Young Gun Silver Fox are the captains of AM Waves, setting sail towards an isle where melodies soak the shoreline and grooves sway like palm trees. Their route traces a natural progression fromWest End Coast, an album that cast Andy Platts (Young Gun) and Shawn Lee (Silver Fox) as musical virtuosos of SoCal-infused pop. AM Waves does more than duplicate the perfection of West End Coast. It improves it.

Recorded at The Shop in London and Roffey Hall in the English countryside, AM Waves burnishes the blend between the duo's modern aesthetic and their sumptuously crafted homage to '70s-styled pop, rock, and soul. "This music hits a certain spot for me personally that nothing else quite does," says Shawn, who produced the album amidst his projects for Saint Etienne, Shawn Lee's Ping Pong Orchestra, and several other acts. "It's real high-caliber music. It's easy and breezy to listen to but it's really hard to make. Every aspect is A game."

The A game behind AM Waves fuels 43 minutes of Young Gun Silver Fox in peak form. "AM Waves is much more instinctive," says Andy, whose penchant for writing irresistible hooks and melodies also shapes his role as lead singer and lyricist/composer for the band Mamas Gun. "It's more vivid. You can see the clarity to the colors of AM Waves whereas West End Coast is slightly more impressionist, as it were."

Originally issued as a single in September 2017, "Midnight in Richmond" is the anchor of AM Waves. "I hit one chord, which I'd never played before, and the song sort of wrote itself," notes Shawn. "It was intuitive. In many ways, the primary function of what I'm doing is trying to find that chord that opens a door and takes you someplace else. Those chords have magic." Andy embellishes the song's appeal by nimbly juxtaposing wistful emotions with a sun-kissed melody, his voice evoking richly drawn memories. The qualities that make "Midnight in Richmond" an instant classic abound throughout the album.

"Lenny" and "Take It or Leave It" spotlight Andy's versatility as a songwriter. The former was inspired by a dream he had where Lenny Kravitz owned a bar. "It was surreal," he says. "He was polishing the glasses and just serving me hit after hit." Like swimming through moonshine, Andy languorously savors every syllable in the song. "Take It or Leave It" is pure pop bliss. "That was one of those songs that fell out in half an hour," he says. "I had everything and it was done." Shawn adds, "It's such a perfect song in itself. When I listen to it, it's like you've created a record that already existed."

Young Gun Silver Fox introduce a five-piece horn section on "Underdog" that literally trumpets the song's protagonist. Shawn affectionately dubbed them the "Seaweed Horns" in honor of the Seawind Horns, an LA-based unit that recorded with powerhouses like Michael Jackson,Rufus & Chaka Khan,and Earth, Wind & Fire during the late-'70s. Andy explains, "The horns grab another hue of the west coast sound, which is the starting point, but it's also maybe the point where we're injecting a little bit more of ourselves and some outside colors into the familiar west coast palette."

A bounty of treasures course through AM Waves' ebb and flow. "Mojo Rising," which the duo penned with Rob Johnson, is a veritable retreat to paradise. "Sky-bound, heaven sent / Way above the clouds watching shootingstars descend," Andy sings, mirroring the music's celestial undertones. Sensuality contours the notes on "Just a Man," a song that basks in the allure of a woman who leaves "footprints on the water" while "Love Guarantee" is festooned with the Seaweed Horns. "I wanted to bring more of that R&B slickness into the mix," Shawn notes about the latter track. "We hadn't done a tune with that sort of groove." Similar to his work on "Underdog," Nichol Thomson's intricate horn arrangement on "LoveGuarantee"exemplifies another distinction between AM Waves and its predecessor.

"Caroline" occupies a special place on AM Waves, beyond spawning the album title. It tells the story of Radio Caroline, a pirate radio station that broadcast from an offshore vessel during the '60s and '70s. "They played the music that kids wanted to hear, whether it was the old stuff or cutting edge stuff," says Andy. "'Caroline' is about Radio Caroline's eventual capture." Complementing Andy Platts' deft wordplay, which draws parallels between radio airwaves and the station's literal home on the ocean, Shawn Lee layers nearly a dozen different parts on "Caroline," showcasing the vastness of his musicality. "I loved that track as soon as I heard it," Andy continues. "It's a beautiful fusion of me and Shawn."

The Seaweed Horns joinYoung Gun Silver Foxas they detour to the dance floor on "Kingston Boogie." Shawn explains the track's genesis, "I was thinking, what have we not done yet We definitely should get an AOR disco thing happening. I quite like disco. The beat is so metronomic that it allows you to be really sophisticated on top. 'Kingston Boogie' just laid itself out. I call it 'midnight disco.'" With a nod to "Lenny," Andy Platts sets "Kingston Boogie" back at Lenny's Bar, this time revealing a detail or two about its mysterious proprietor as he pours sweet wine and moonshine.

In a sense, AM Waves ends with the beginning. Even before there was Young Gun Silver Fox, there was "Lolita," the first song Andy Platts and Shawn Lee wrote together and a crowd-pleasing staple of the duo's live sets. The tale of a femme fatale who harbors a secret was recorded for West End Coast but instead furnished the B-side to "Long Way Back" as well as a bonus track on the North American edition of the album. Despite the song's checkered trajectory, its infectious chorus sparked the brighter, more buoyant orientation of AM Waves.

Like the moon pulling the tide, Young Gun Silver Fox are a magnet for good songs. "We're both so obsessed and constantly interested in music-making," says Andy. "We're both thinking about it all the time. When you know you have an accomplice with you that's the same as you, it's very liberating. Suddenly, worlds of color start to appear." Indeed, AM Waves is elemental in its power to induce pleasure. Dive right in.

Christian John Wikane

(New York City / February 2018)

Hot off their two smashes for Marvel’s blockbuster lm Venom: Let There Be Carnage, CZARFACE is back, triumphantly swinging into your universe with their all new CZARMAGEDDON! Expect many twists and turns as Wu-Tang’s Inspectah Deck and Esoteric go to war with an all-new, all-different soundscape from Czarface producers the Czar Keys. Alt-rap icon Kool Keith shatters the lyrical glass and the enigmatic Frankie Pulitzer, who rst appeared on the Venom soundtrack on Czarface’s Today’s Special, is back with guns blazing. Fans will crash the gates for this all new chapter of the Czarface saga.

Includes:
-Collector's Lunchbox with embossed Czarface art on front and back
-Series 2 Trading Cards only available with the Lunchbox
-Cassette of CZARMAGEDDON! only available in the Lunchbox

Perfect Location Records in partnership with the one and only Ear Candy Music is proud to announce 00-04, a compilation of early works by Bevan Smith aka Signer, New Zealand’s most prominent name in ambient electronica and dub techno.

Smith has been producing emotive chords, pop ambience, and thick dub-ospheres since before the turn of the century. His output is prolific, ranging from various solo monikers (Aspen, Introverted Dancefloor) and collaborations (Skallander, Feeling Flying) to unique projects (Touching the Void soundtrack, Isolated Dreams’ 24 EPs and counting). A rare artist with indie crossover appeal thanks to the 2004 Signer album The New Face of Smiling released on Carpark Records (Toro Y Moi, Beach House, Dan Deacon, Montag), Smith has played as a member of bands such as The Ruby Suns (Sub Pop), Over the Atlantic (Involve), and Glass Vaults (JUKBOXR).

Encompassing field recordings and evoking a cloudy coastal sky, 00-04 is a collection of mostly unheard material written in the early 2000s as Smith navigated the chaos and stress of living in London just after 9/11. A portion of this release may be recognisable to those familiar with the Involve catalog––“Drone Early,” for example, is an alternative version to the dub giant “1201A”––and to those acquainted with Signer’s 2002 Low Light Dreams (Carpark/Involve), an iconic album composed of processed guitar, dub-influenced bass, and synth drones; as if that doesn’t sound appealing enough, Low Light Dreams is home to “Building Memories Without You,” an unforgettably engulfing track featured on Fact Magazine’s 25 Best Dub Techno Tracks of All Time.

00-04 is a (re)issue both nostalgic and new, familiar yet unknown, fresh out of the archive. It possesses the Low Light Dreams aural palette while offering a carefully curated array of never before heard icy-cold moods, soothing minimalism, and shyly optimistic melodies, all glazed with recently finalized additions.

The Complete Piano Etudes of Philip Glass available for the first time on vinyl, housed in a 4LP Box set (also available as a 2CD format).



After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician,” confides Vanessa Wagner.

An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky and Dusapin as she is alongside Murcof and Rone.

With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails.

A tireless pioneer of new repertoires, she has been exploring the repertoire of minimalist composers for several years. For InFiné, she has dedicated 4 albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner and Nico Muhly.

After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano
by Philip Glass.
His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt.

Philip Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Dissatisfied with much of what was then considered modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with sitar virtuoso and composer Ravi Shankar.

The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris - a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage.

Coach Party melden sich mit ihrem zweiten Album, dem wilden Kracher "Caramel", zurück. Mit ihrem Debüt KILLJOY aus 2023 verkauften sie ihre Shows in Europa, USA und Grossbritannien aus, darunter auch die Londoner Scala. Sie tourten mit Queens Of The Stone Age und Royal Blood und spielten beim SXSW und in Glastonbury. Coach Party platzierten sich auf #1 der UK Independent Breakers, wurden von BBC Radio 1 als "Hottest Record In The World" ausgezeichnet und bei den AIM Awards 2024 für den "Meistgespielten Neuen Act" nominiert.

After turning heads with their much-loved "Monaco EP" on Roy Davis Jr.'s legendary Undaground Therapy Muzik, the duo is back with a release that bridges deep-rooted house sensibilities and forward-thinking production.
To mark their 10-year anniversary, the boys return to their label roots with a 5-track vinyl-only EP - full of dusty samples, deep grooves & nods to early French house.

Berlin-Hamburg duo Session Victim return to the ever-reliable Delusions Of Grandeur imprint with Chapter Two of their Sidequests trilogy, marking yet another high point in their almost twenty year journey through heartfelt, sample-rich music. Overflowing with analog warmth, sundrenched textures and irresistible grooves, the release also features a stellar remix from label cofounder and deep house pioneer Jimpster who kicks off the EP. Here he takes Behind The Glass into spaced out house-not-house territory. With crisp drum programming, trademark Rhodes, and subtle pads that build over time, his version delivers that late-night sophistication he's known for—steering the downtempo original in a clubbier direction without losing its blissed-out essence. Up next we have a brand new collaborative effort with long time friend, label mate and fellow sample nerd Nebraska. Make It Happen is a dusty, slo-mo house groove featuring delicate keys, euphoric strings and that unmistakable sense of journey. It’s just the kind of low-slung epic house they do best—intimate yet club-ready, nostalgic but never retro. Flipping over, Too Soft To Be Loud, another collaboration with Viken Arman, follows with a jazzy, almost samba-esque rhythm and swirling atmospherics. Loose percussion, catchy guitar riffs and Rhodes stabs collide with off-kilter dub FX and soft vocal snippets giving the track a laid-back, live-band feel that harks back to their See You When You Get There era. Hubcap Candy dives deep into funk territory. Nebraska’s on point boogie bassline drives the track forward as crunchy drums and layers of synths create a dreamlike haze. It’s loopy, moody, and finds Session Victim at their very best. Closing out the EP we have the original of Behind The Glass, a headsy, beatdown piece that slowly unfolds over an unconventional brass-like bassline and delicate guitar textures, paying homage to the golden age of Trip Hop haziness and it’s pioneer turntable spirit. Blending crate-digging sensibilities with forward-thinking production, this latest release solidifies Session Victim’s reputation as genre-blurring tastemakers, and their chemistry with Delusions Of Grandeur remains as strong as ever

2025 Repress

FINALLY! The very first commercial release of two legendary remixes of Arthur Russell's "In The Light Of The Miracle". Both are widely regarded as transcendent masterpieces and very much befitting of the title “holy grails”.

These long-beloved mixes are the types you'd wish would last for eternity. With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.

The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of "In The Light Of The Miracle".

Some dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release.

These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit & Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING.

The "Ponytail Club Mix (Part 1 & 2)", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14 minute epic, you could say this is a more straight ahead "club-friendly" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg.

These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.

James Morrison"s new album Fight Another Day is born of difficult times and heavy emotions but one that, ultimately, leans into the light and joy and hope. Written after a period of reflection and therapy, the songs deal with his own struggles, childhood, and personal battles, with Morrison saying, "Every day being a bit of a battle. Trying to eke the light out after what felt like darkness for ages." From the defiant title track to the soul-baring Something I Can"t Forget and the feelgood New Day, the album captures a wide emotional spectrum. "I"m really proud of the album in terms of the creative, sonic elements and how I dealt with truthful stuff," he says, "but also... it"s an album of songs that hopefully make you feel better and make you nod your head and stamp your feet and singalong."

James Morrison"s new album Fight Another Day is born of difficult times and heavy emotions but one that, ultimately, leans into the light and joy and hope. Written after a period of reflection and therapy, the songs deal with his own struggles, childhood, and personal battles, with Morrison saying, "Every day being a bit of a battle. Trying to eke the light out after what felt like darkness for ages." From the defiant title track to the soul-baring Something I Can"t Forget and the feelgood New Day, the album captures a wide emotional spectrum. "I"m really proud of the album in terms of the creative, sonic elements and how I dealt with truthful stuff," he says, "but also... it"s an album of songs that hopefully make you feel better and make you nod your head and stamp your feet and singalong."

END[GER] Die Band Wednesday aus Asheville, North Carolina errichtet im Laufe der zehn Songs von "Rat Saw God" einen Schrein voller aufregender Details: Halb lustige, halb tragische Botschaften aus den Südstaaten, die sich klanglich irgendwo zwischen dem wimmernden Skuzz von Neunzigerjahre-Shoegaze und klassischem Country-Twang entfalten - mit verzerrter Pedal Steel und Frontfrau Karly Hartzman, die mit ihrer Stimme, den Lärm durchschneidet. Ein Song von Wednesday ist wie ein Quilt. Eine Kurzgeschichtensammlung, eine verschwommene Erinnerung, ein Flickenteppich aus Porträts des amerikanischen Südens, der disparate Momente einfängt und als Ganzes doch irgendwie einen Sinn ergibt. Karly Hartzman, die Songschreiberin, Sängerin, Gitarristin und Leiterin der Band, ist eine Geschichtensammlerin als auch eine Geschichtenerzählerin: Eine aufmerksame Beobachterin von Menschen und witzigen Bemerkungen. "Rat Saw God", das neue und beste Album des Quintetts aus Asheville, ist ekphrastisch, aber ebenso autobiografisch und vor allem sehr einfühlsam. Es wurde in den Monaten unmittelbar nach der Fertigstellung von dem zweiten Album der Band, "Twin Plagues", geschrieben und innerhalb einer Woche im Drop Of Sun Studio in Asheville aufgenommen. Die Songs auf "Rat Saw God" erzählen keine Epen, sondern das Alltägliche. Sie sind lebensnah, erzählen vom wahren Leben, sie sind verschwommen und chaotisch und seltsam zugleich - was Hartzmans eigenem Ethos entspricht: "Everyone's story is worthy. Literally every life story is worth writing down, because people are so fascinating." A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Eager Buyers is an observation of longing, of memory, of attempted connection, of lost innocence, and irreconcilable dreams. It"s the sound of broken promises for a bright future, where rose-tinted glasses have lost their clarity, dirtied with disaffection over time. Across this sultry, smoky, cinematic epic, JASSS attempts to process mixed feelings amidst the modern malaise. Alluringly atmospheric and cerebral, but bold and direct, with high-spec sound design, JASSS spaces each element with expert definition. Searing swathes of noise nestle with crisp breakbeats, billowing bass, dark ambience, prepared piano, phosphorescent electronics and calibrated percussion.

Guitar Solos is the debut solo album of British guitarist, composer, and improviser Fred Frith. It was recorded while Frith was still a member of the English experimental rock group Henry Cow and was released originally in October 1974. Voted one of the best albums of 1974 by NME critics it also attracted the attention of Brian Eno, resulting in Frith playing guitar on two of Eno‘s albums. Frith‘s never tiring spirit in creating and performing music has made him one of the most notable and creative guitar players and musicians in the scene of improvised and composed music. For the anniversary of this release we have encouraged Frith to arrange a set up similar to what he used 50 years ago to record an album of new compositions which will accompany the original record.

Rose Gray, Songwriterin, DJ und angehender Popstar aus London, veröffentlicht ihr Debütalbum via Play It Again Sam. Nach einer sehr umtriebigen Phase mit ersten Singles, einem Auftritt beim Glastonbury Festival und der Einführung ihrer eigenen Clubnacht, hat Rose Gray noch nicht genug und betitelt ihr Debüt vielsagend: 'Louder, Please'. Die Liste der Kollaborateure für das Album unterstreicht ihre Ambitionen umso mehr: Von Popgrößen wie Justin Tranter (Lady Gaga, Chappel Roan) und Zhone (Troye Sivan) bis hin zu Underground-Elektro-Helden wie Seda Bodega, Uffie und Alex Metric. Das Ergebnis: Ein kraftvoller und kompromissloser Dance-Pop Sound - absolut bereit für den Pop-Olymp.

Glasgow-based producer and modular performer TRSSX returns with his second EP this year, following “The Degree of Difference Between Them” on Zhark Recordings Berlin released in April, and a more recent appearance on Hardwired, a compilation compiled by JakoJako and released on Air Texture. "A Mass Deliberately Deprives Itself of Reason” follows the path of modular industrial distortion and techno-trajectories performed live. A more narrative structure emerges, with experimental noise framing devices and disintegrated, granular voices coming to the surface.

The EP was recorded live between 2023-25, and is a reflection of a sonic identity present at EXIT, the Glasgow club that TRSSX co-founded in September 2023.

Mastered at Black Monolith Studio.