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Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart — a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four No. 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive No. 1 singles — an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground — especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.


Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180g 33RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.

In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano — an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations — benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.

Issued just two years after Houston's breakthrough debut, Whitney immediately signalled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston — captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello — whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners — and which set the standard for the wave after wave of divas that followed in her footsteps.

It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)." Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems — a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing — a task made challenging only because of the impossible-to-ignore hooks and grooves — showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.

That she replicates those feats for the entirety of the nearly 53-minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.

Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harbouring four No. 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day." The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic: "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11."


That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper – and one of the key reasons Houston is the most-awarded female artist of all time.

How sad, if timely: this stunning reissue of the 1994 live album arrived in the very week that trumpeter Masekela passed away. One of the most successful ambassadors ever for African music, his fusing of the continent's rhythms and instruments with contemporary jazz and rock proved irresistible. Nearly every one of you has heard him, thanks to guess spots with The Byrds and Paul Simon. His breakthough hit from 1968 — the infectious "Grazing In The Grass" — is here, along with another 11 tracks recorded at Blues Alley, the U.S. club that gave us Eva Cassidy. Notably, despite its early-1990s origins, this is all-analogue." — Sound Quality = 90% - Ken Kessler, HiFi News, May 2018

"...Hope is one of those intensely visceral, large as life, and immediately present recordings that will make pretty much any system sound at least very good, and will cause better ones to raise goose bumps." - Wayne Garcia, The Absolute Sound, August 2008

"...The high quality original mix plus Analogue Productions' superb mastering has resulted in a terrific, very transparent sonic with great impact." - John Henry, Audiophile Audition

What more can be captured from the masterpiece that the late trumpet great Hugh Masekela left devoted fans, the effervescent Hope. Now cut at 45 RPM and spread over four 200-gram premium LPs, you're about to discover the answer to that question. The eight sides of vinyl reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. And this set is plated and pressed at Quality Record Pressings, Acoustic Sounds' own industry-lauded LP manufacturer. Virtually silent surfaces coupled with sharp delineation of musical detail are QRP pressing hallmarks.

Two Stoughton Printing old-style tip-on gatefold jackets house the four LPs, which are contained in a custom-designed slipcase reproducing the original artwork.

A longtime audiophile demonstration disc. Hope will show off your system's dynamic range as well as any record ever released. Hugh Masekela, the outstanding South African trumpeter, assembled a seven-piece group and recorded this great set live at Washington, D.C.'s Blues Alley. The songs stretch over a period of nearly five decades and serve as an informal guided tour of Masekela's life. The songs are honest and bare, and as for the sound — WOW!

Unlike a prior 45 RPM version that included seven songs, this 45 RPM reissue contains the full program as originally recorded with all 12 tracks included! Plus, as an added bonus, we've included a special insert — featuring an exclusive interview with Grammy/Emmy Award-winning engineer David Hewitt, who recorded Hope originally.

"Hugh's record is right up near the top for a lot of reasons," Hewitt says.

Hewitt and his team were afforded the time they needed, and they pulled out all the stops to pull off what's now recognized as an all-time great recording. They used better-quality microphones, they were mic-ing the room for ambient sound, and Masekela was performing for a sophisticated and appreciative audience.

"We used stuff from our stash of mics as opposed to what you'd find typically at a jazz club. We actually had control via the record label and producers, so we could take our time. We had the ability to mic the room for abient sound. ... you've got people that actually know and appreciate the music and respond accordingly. What you've got there is all the right stuff at the right time and the right people, and then something magical happens."

Listen to that magic unfold — put on this Analogue Productions 45 RPM 4LP reissue of Hope, and be transported.

Men at Work already had an album in the Top Ten when the Australian ensemble released Cargo, which continued the momentum gained by its record-setting debut. As ambitious and even more diversified than its initial salvo, the 1983 effort firmly established the band as new-wave pioneers – a group whose goofy playfulness, sharp hooks, brass accents, and memorable choruses helped define the decade's landscape. Any doubts about Men at Work's quirky sensibility were promptly answered by the iconic cover art gracing this multi-platinum set.

Mastered on our world-renowned mastering system and pressed at RTI, this LP not only brings the artwork back into full-scale glory but also takes the enjoyably melodic pop-rock to new sonic heights courtesy of improved imaging, separation, and balance. Previously obscured details jump to the surface, and leader Colin Hay's unique voice takes on life-like dimensions that hover between the speakers.

While remaining true to the approach that garnered them a Grammy Award for Best New Artist, Men at Work expands the creative palette on Cargo by giving guitars a more prominent role and increasing the rhythmic textures. With the sweeping ballad "Overkill" and politically savvy cynicism of "It's a Mistake," the band furthered their radio domination and extended their run of Top 10 singles. A third hit, "Dr. Heckyll and Mr. Jive," cracked the Top 30. Well-tailored melodies and whimsical imagination definitely had a place in the public's consciousness, and no group understood this more.



As the final album captured by the original lineup, Cargo remains an indelible piece of the 1980s audio terrain and a reminder of the era's endless fun. Bolstered by lively saxophone solos, self-effacing humor, and instantly catchy refrains, the album is as good as excuse as any to turn on the stereo, sit down, forget your worries, and dance to leisurely pursuits so perfectly captured by this beloved group.

Recoil ist das musikalische Projekt des ehemaligen Depeche Mode-Mitglieds Alan Wilder. Mute veröffentlicht die letzten drei Recoil Alben „Liquid“, „Unsound Methods“ und „subHuman“ am 7. Oktober neu, jeweils auf CD und farbiger Doppel-Vinyl. Ursprünglich ein Soloprojekt für Alans experimentelle Arbeit außerhalb von Depeche Mode, wurde Recoil zu seinem wichtigsten Musikprojekt, nachdem er 1995 seinen Ausstieg aus der Band bekannt gab.

Nach einer 6-jährigen Aufnahmepause kehrte Alan Wilder mit dem fünften Studioalbum von Recoil, „subHuman“, zurück. Dieses düstere elektronische Album, das den Hörer vor die Herausforderung stellt, zu analysieren, was uns zu Menschen und zu Untermenschen macht, ist eine Zusammenarbeit mit dem Blueser Joe Richardson, auf den Wilder über eine Google-Suche stieß. Richardson steuerte Gitarre, Mundharmonika und unheimlichen Gesang bei, der sich mit Themen wie Mord, Tod und Religion beschäftigt. Die Sängerin Carla Trevaskis ist mit ihrem ätherischen Gesang auf "Allelujah" zu hören.

„subHuman“ erscheint auf Curacao-farbenem Doppel-Vinyl (inklusive Download-Code) und CD.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

In a career spanning 50 years, Leo Sayer has sold more than 80 MILLION records worldwide.
• 'Silverbird' is Leo’s incredible debut album, originally released late in 1973, reaching #2 in UK Albums Chart and includes
the debut single ‘Why Is Everybody Going Home’ and the hit ‘The Show Must Go On’ (#2).
• Co-produced by Adam Faith and David Courtney, ‘Silverbird’ was recorded at several locations including Virgin Records’
Manor Studios, The Who’s lead singer Roger Daltrey’s Barn Studio and Apple studios.
• Following another successful UK tour in Autumn 2022, Leo Sayer has recently been on tour in the USA for the first time in
decades; a country that took him to their hearts with two #1 Singles and a GRAMMY Award and although he now has
Australian citizenship, Leo remains one of the UK's great singer/songwriters and performers of all time.
• This 50th Anniversary celebratory half-speed master version has been newly mastered by Phil Kinrade, and expertly cut
using transfers of the original audio tapes using precision half-speed mastering by Barry Grint at AIR Mastering, London
and is pressed on heavyweight 180g vinyl, with a 4-page insert containing the lyrics.

Das vom Komponisten und Perkussionisten Vincent Montana Jr. gegründete SALSOUL ORCHESTRA war eine Big Band mit einer Besonderheit: Sie spielten Disco.

Das Orchester war von 1974 bis in die frühen 1980er Jahre aktiv und diente als Begleitband für mehrere Sänger von Salsoul Records und nahm eigenes an Material auf, darunter elf LPs mit knallhartem Philly Soul, Latin Percussion und Funk. Mit bis zu 50 Mitgliedern prägte das Orchester den Sound einer ganzen Ära.

Extravagante Streicherarrangements, funkige Gitarren und frecher Gesang, gekrönt von einem unbeugsamen Bläsersatz, sorgten für unvergessliche Hits wie "Tangerine" und "Salsoul Hustle". Die atemberaubenden Interpretationen von legendären Weihnachtsliedern wie "Little Drummer Boy" brachten der Band sogar einen Platz in den Charts ein: Ihr drittes Album, Christmas Jollies, wurde 1976 und 1977 zum meistverkauften Weihnachtsalbum. Obwohl Montana die Gruppe 1982 auflöste, hat ihr Vermächtnis bis in die Gegenwart Bestand: Sie prägten die House- und Dance-Musik und wurden von vielen bekannten Künstler:innen gesampelt.

The "Origins" collection focusses on one the greatest guitarist of all time. More than 50 years after his death, find the titles that influenced the sound of Jimi Hendrix on a double vinyl! With original tracks by : Muddy Waters - Bo Diddley - Chuck Berry - Little Richard - Buddy Guy - Bob Dylan - Elvis Presley - John Lee Hooker - B.B King

Recorded at the Hollywood Palladium, Los Angeles in 2018, ‘Sunset 666’ is a new live album from The Jesus and Mary Chain, due out August 4th 2023 on Fuzz Club. In 1990, a young American band, full of a precise kind of noise and darkness, were special guests on the US tour being undertaken by a group who had noise and darkness, poise and catharsis of their own. The young band: Nine Inch Nails. Those headliners: The Jesus and Mary Chain. Almost thirty years later, an invitation was extended. Would the Reid brothers care to reverse the roles and open for Nine Inch Nails on their own North American tour? Trent Reznor had been a fan of the Mary Chain, and influenced by them since hearing 'Psychocandy', so it felt a good fit and the Reid brothers accepted. The resulting tour ended with a run of six shows at LA’s Hollywood Palladium and the seventeen tracks captured on the ‘Sunset 666’ double album were recorded from the desk on two of those nights. Sides A, B and C are from the final show, December 15. Those twelve songs were the full set that night, in sequence, meaning the show began with the here-we-f*cking-go drums of ‘Just Like Honey’ and ended with the ferocious euphoria of an eight-and-a-half minute ‘Reverence’. Side D of the vinyl record is taken from the December 11 show and serves almost as a mini-showcase of the ‘Automatic’ album, featuring versions of ‘Blues From A Gun’, ‘Between Planets’ and ‘Halfway To Crazy’.

The Arockalypse is the third studio album by Finnish rock band Lordi. It includes the hit single “Hard Rock Hallelujah”, which won the Eurovision Song Contest 2006 for Finland. The album was certified with a triple Platinum status in Finland, Gold in Germany, and Sweden. It reached the number one chart position in Finland, Sweden, and Greece.

The Arockalypse has several guest appearances: Dee Snider and Jay Jay French from Twisted Sister, Udo Dirkschneider from Accept/U.D.O. and Bruce Kulick from Kiss.

The Arockalypse is available as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes an insert.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

Bold arrangements, excitingly honest lyricism and a riveting voice: Viennese Singer-Songwriter “Lorenz Ambeek” emanates the virtuosity of José Gonzalez and Eliott Smith (MUSIKEXPRESS / FM4). With his first two singles counting over a million streams, paired with chart positions and international airplay, Lorenz’ first album “Look at Me Now” sets sail for a promising musical future: 2023 will thus see the young artist release his 10-track debut-album, alongside several singles and live concerts.

“Look at Me Now” comes with a professional marketing-campaign of visualizer promotion on social media (TikTok & Meta), online marketing and print&online PR for Europe. Previously on chart positions and rotation in Germany (NDR2, EgoFm, FluxFM), Austria (FM4, 88.6) and France (FIP).

DJ Jus-Ed is a real house g. The New Jersey man has been keeping it deep for decades, mostly on his own Underground Quality label and that's what he does once more here. As is often the way, his own vocals infuse the opening track 'That First Touch' which is a happy house cut laced with feel-good pianos.

'The Freshness' hits the sweet spot between classic Chicago depths and dubby new school house with sustained chords and lo-fi drums. 'The Walk & Talk' has elastic bass and tumbling drums with zoned-out vocal musings and 'When I Met You' brings some cosmic synth radiance into Ed's smoky house basement.

When Ryan Olcott, songwriter and frontman of Twin Cities’ iconic indie rock band 12 Rods, found unfinished Rods demos during lockdown, he was surprised. When he realized they were good, he was shocked. He quickly set to finishing and recording the compositions, which became If We Stayed Alive, the first 12 Rods album in twenty-one years. “These are songs that I forgot about,” he explains, “but upon finding them, I thought, ‘Wow, these are actually okay.’” That was the easy part. Reacquainting himself with twenty-year-removed craft and technique took some getting used to -- some parts longer than others. He recorded all the instruments in a week, but vocals took a bit longer. “Oh my god!” he laughs, “it took a couple days to get my voice back with that range and that power, but I could do it.” Any cobwebs that needed dusting are long gone. If We Stayed Alive is everything longtime fans have wanted, and the perfect introduction to what some called “America’s Radiohead" and what others have called one of the best indie bands of the ‘90s.

This comes for the first time on 180g vinyl in a gatefold sleeve. Re-mastered for vinyl.This 22 track compilation spans the years 1995 - 2004 featuring key tracks from all their albums as well and live recordings and many unreleased tracks.BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Yetsuby lands on London label Third Place with her 'Water Flash' EP this July.

Seoul-based artist Yetsuby is best known as one half of electronic super-duo Salamanda, who have won hearts and minds with their light and floaty new-age electronica via releases on Good Morning Tapes, Human Pitch, and Métron Records. As a solo act, she has released her own music on the Taipei-based 禁 JIN as well as through the Seoul store The Internatiiional amongst self-released delights on her Bandcamp.

Turning to Will Hofbauer's playful Third Place imprint for her latest 12', Yetsuby delivers four bubbly tracks. On the A-side, the title cut 'Water Flash' leads with airy synths and textured percussion, while 'Electro Union' ups the energy with choppy vocal samples, punchy drums, and twinkling arps. On the flip, subtle synths wriggle alongside low-key percussion on 'Commercial Noisy Day', making for a heads-down affair, before the gorgeous finalé '물먹는하마' rounds out the B-side with delicate keys and detailed yet muted drums.

GOLD, the follow-up to Alabaster DePlume's widely-acclaimed, 2020-released cinematic instrumental LP To Cy & Lee: Instrumentals Vol. 1, introduces the world to the artist’s truest self.

A name which requires no introduction, Masonna to this day stands as an unparalleled and absolutely unique voice from the golden era of noise. During the mid-90s Maso Yamazaki released a series of savage CDs on the legendary “Good Alchemy” series from Alchemy records. Originally released in 1996, “Ejaculation Generater” manages to cram 32 tracks of Masonna’s signature vocal noise in a nearly unrelenting half an hour. The artists personal favourite in a vast discography, “Ejaculation Generater” is now made available for the first time since its original release. The original liner notes by Jojo Hiroshige have been translated into english for the first time by Kato David Hopkins (R.I.P.). Mastered for both vinyl and digital editions by Rashad Becker.

Freak Frequency was a fitting title for the new material Greg Obis was planning for Stuck, the frenetic and twisted post-punk outfit he formed in 2018. Inspired by the doomy social economics of Mark Fisher’s Capitalist Realism, the bleak worldbuilding of horror games Demon’s Souls and Bloodborne, and the bombastic yet arty satire of Devo, Obis channelled his audio analogy into Freak Frequency, an album ringing out with explosive sounds and ideas.

Stuck formed after Obis’ previous projects, Yeesh and Clearance, called it quits in short proximity. Obis is on guitar and vocals, which span from booming theatrics to ecstatic yelps. The project’s rhythm section is completed by shoegaze guitarist-turned-chugging bassist David Algrim and tightly wound drummer Tim Green—also a graphic designer, and the artist responsible for Stuck’s distinctively unified visual aesthetic. Original co-guitarist Donny Walsh contributed freely inventive lines for the first few years of the project, including on Freak Frequency; Ezra Saulnier of Red Tunic, the newest member of the band, now brings calculated contrapuntal riffs to match Obis’ parts.

The building blocks of Stuck include the egg punk eccentricities of Uranium Club and The Coneheads filtered through noise rock power, à la Jesus Lizard or Slint; that melange is glittered with the precision microtones of Unwound and Women. “I want the feeling of immersion and chaos and tension, with a big guitar amp playing a big chord,” says Obis of his inspirations, citing friends and peers Cloud Nothings and Preoccupations. “But I want it delivered by having a lot of smaller points of light poking through.”

In fact, writing for Freak Frequency began while Content’s recording was still underway—beginning with “Scared,” which features acoustic layers under feedback squalls. “Time Out,” with motoric guitars in the sputtering lineage of Wire, was also composed in late 2019. Obis wrote it about the cycles of compulsion and shame woven into social media use, and the way negativity drives algorithmic engagement. It became an exciting exercise for the group in ramping up speed; “I thought I knew how far I could push Tim’s tempos,” Obis recalls. “But Tim kept insisting we do it 20 bpm faster than what I had. He is an absolute monster for playing that.”

Album opener “The Punisher,” a spiral staircase of disembodied guitars and rhythmic slams over a 2/4 beat, came in the aftermath of the January 6 insurrection. It felt immediately emblematic to Freak Frequency, and Obis describes it as his favorite Stuck track: one he wishes he could write again and again. “It hits all the boxes that Stuck can do: it’s goofy, but there’s a lot of intricate guitar interplay, and at the end, there’s a big payoff,” he explains. The last song written was “Do Not Reply,” a pre-album single that came to Obis after engineering for Melkbelly and channelling their earworm melodies. Algrim wouldn’t let it on the record unless Melkbelly’s front person Miranda Winters dueted on vocals; she was happy to oblige, and the gritty epic closes Freak Frequency.

With slippery snark, percussive heft, and funhouse mirrors of sludge, Freak Frequency delivers its needed screeds with gratifying nuance. If Stuck’s interpretation of this messed-up world goes down like a bitter pill, it’s only because its sugar coating is too delicious to keep from eating.

Ahemaa Nwomkro, which means queens of Nwomkro, are Victoria Osei and Theresa Owusuaa. Nwomkro is an old Ashanti musical style, which played an influential role in the origin of the typical more roots-like Highlife style of Kumasi, the cultural capital of Ghana in the middle of the jungle.

On this release the two singers have teamed up with the young generation of Highlife muicians of Kumasi. On guitar is Akule Pepe, who served for years in the group of Highlife legend Alex Konadu, the most on demand band in its time. The two songs are a rare example of how good pure Nwomkro gets together with typical Highlife.

Lucca Leeloo is back on vinyl with his new remix LP “Prosperous (The Remixes)” – a cosmic, aesthetic mix of indie dance, italo and nu-disco made for the club. This time around he’s been working with Shubostar, Daniele Baldelli & Marco Dionigi, Luca dell’Orso, Endrik Schroeder, David Van Bylen, Hard Ton, Boys’ Shorts and Phunkadelica – so put on your red shoes and dance the blues.

Die von Tim Burton produzierte Serie zeigt Wednesday Addams, die Tochter der Addams Family, wie sie als Teenager auf ein Internat für außergewöhnliche Menschen kommt (Zauberer, Werwölfe und mehr). Neben den beeindruckten Streamingzahlen auf Netflix, ging die Serie auch auf TikTok und Instagram monatelang viral. Komponiert vom Oscar-nominierten und Emmy-Gewinner Danny Elfman (Men In Black, Good Will Hunting, Desperate Housewives) und Emmy-nommiertem Chris Bacon (Bates Motel, Sherlock Gnomes) erscheint der Score zur Serie auf farbigem Doppelvinyl (purple smoky marbled) und in bedruckten Sleeve mit Gatefold.

Over the past eight years Teenage Wrist have continually evolved their sound, a process that"s peaking with their third full-length, STILL LOVE. Reaching new heights in both scope and execution, the album sees the duo-Marshall Gallagher (vocalist, guitarist, bassist) and Anthony Salazar (drums, vocalist, percussion)-producing the album themselves to handcraft their most expansive collection of songs to date from the ground up. ? e result is a self-realized collection of songs that saw the band borrowing vintage gear, bringing in friends in the form of members from 311 vocalist/turntablist Doug "SA" Martinez and Softcult and incorporating tasteful pop sensibilities to craft a collection of songs that rede? nes the band"s sound while staying true to their guitar-driven roots. From the atmospheric, fuzzed out opener "Sunshine" (which Gallagher says is "the coolest ri? he"s ever written") to the midtempo rocker "Dark Sky"" (the latter of which features the aforementioned cameo from 311 vocalist/turntablist Doug "SA" Martinez), the album will undoubtedly please fans who favor distorted guitars and crunchy chords. However, that"s only one aspect of the album and Teenage Wrist aren"t ashamed to admit that there"s a strong pop sensibility on the album that shows how much they"ve grown as songwriters since 2021"s Earth is a Black Hole. From the brain-invading ballad "Something Good" to the downbeat electronic vibe of "Diorama," the album is teeming with unexpected moments that are reminiscent of Radiohead"s ? air for experimentation. ? e powerful bond between these two collaborators lies at the core of Teenage Wrist"s music and, more than any other factor, that"s evident on every moment of STILL LOVE. "? ere was a certain feeling that music gave me as a kid and this is honestly the ? rst time on any record I feel like we kind of came close to achieving that," Gallagher says of the end result. "We just shot from the gut on this record and tried not to overanalyze things... and I think the record speaks for itself."

Duke Pearson’s 1967 album The Right Touch is perhaps the finest of his career and a showcase for the breadth of his talents as a pianist, composer, and arranger. Six memorable Pearson original are performed by a dynamic 8-piece band including Freddie Hubbard, Stanley Turrentine, and James Spaulding.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Reissue

The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. They found their inspiration in the secular music they heard on the radio, and wrote songs that were nothing but stone cold soul.

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

The first witnesses to Samuels' new beginnings fittingly became part of
the sound of the album - During her darkest moments, while writing in
isolation, her old friends in the band Bonny Light Horseman offered to
take her out on tour in early 2020
"They re-contextualized music for me all over again," she says. Observing a truly
kind and compassionate music community brought Samuels out of herself even
more. Inspired by conversations with producer Josh Kaufman (The Hold Steady,
Bob Weir, Cassandra Jenkins) on the road, Samuels took him up on his offer to
produce her new songs and retreated to Isokon Studios in Woodstock, NY in the
summer of 2021. They made the album as a duo, with Matt Barick (The Walkmen,
Fleet Foxes) contributing drums on the entirety of the record. The result is a sonic
template that ranges from the soaring and orchestral to the understated and
confessional; at turns free- wheeling and filled with swagger then sincere and
precise, with each subtle movement serving to highlight Samuels' lyrical journeys.

Four more lively, lovely electro offerings from Plant 43, the second in a limited edition series of EPs focussed on tracks written over the course of the winter of 2022/23. Opener 'Submolecular Shifting' is bright and bubbly, joining the dots between Kraftwerk and Model 500, while 'Eccentric Elliptical Orbit' follows on slower and more grandiose, echoing early New Order's icy cool synth sounds. 'Encased' has a more otherworldly Aphex-like feel, although the juddering, on-off bass keeps it plugged into the dancefloor. 'The Forgotten Storm' closes proceedings, more low key again and graced with ethereal, adding angelic choirs. Energised enough and streamlined enough to be good dancefloor gear, but expertly executed and, as ever, brimming with enough personality to be a decent home listen as well.

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

Blind Prophet & Ishan Sound come together for their first pan-atlantic collaboration here in what is a fine return to the ZamZam label. The pair first met in Portland in 2019 and so it's good to finally have some sounds to get stuck into from their meeting of minds. 'The Labyrinth' kicks off with hefty and stepping drum rhythms that are overlaid by bright synth lines and mystic flutes. The interloping melodies and a menacing bassline finish it in style. On the flip, things get much more dark with 'Minotaur Dub' which is a shadowy world of refracting drums and oodles of reverb and echo. There is a predatory sense to the rhythm that never lets up as fizzing bass pries every deep into the dead of night.

OVERVIEW: Ever since they arrived on the Norwegian indie scene at age 17, the Oslo-based four-piece Veps has released a steady stream of jaw droppingly mature, indie pop gems. Now, as they are all in their final teenage year, Veps announces their debut album Oslo Park for July 21st release on Kanine Records. Continuing to dish out indie pop bangers with a carefree, DIY attitude, Oslo Park is Veps at their most dynamic. Produced by fellow Norwegian Matias Tellez (Girl in Red, Sondre Lerche), Oslo Park is an emotional, fun ride through adolescence. Feisty rocker “His Brother” evokes the spirit of the alternative rock scene of the early 1990s, before the minor key gem “Crawl” breaks your heart with its honest depiction of teenage heartbreak. The gorgeous ballads “Ballerina (Norah)” and “To the Bedwetters” are both, in their unique way, an instant emotional time capsule to the melancholy and vulnerable aspects of being young and searching for your identity. If their EP, Open the Door, was described by the band as a “love letter to our teenage years,” this album, raw, emotional, beautiful and melodic, is more of a goodbye, perhaps.

Italian DJ and producer Sourires (aka Andrea Antognoli) joins the Samosa stable for his debut with an explosive release that will take your breath away.

The EP kicks off with the title track, Pampasosa - a furiously groovy number which gets up right in your face from the get-go. Like an unstoppable train, Pampasosa hurtles along at 127bpm with its horns blaring and furnace blazing. De Gama is on the Re-Groove here, expertly applying the bells and whistles to this all powerful locomotive stomper.

A2 brings us ‘Liam’, which sounds like a track very close to Sourires heart. Think of glorious evening sunshine after the rain for this emotionally charged piece of music. The bass has you hypnotised, the strings make you soar and the vocal haunts your dreams. It bares its soul to you and you can’t help but love it for that.

On the B-side, ‘Keep Rolling’ (De Gama Re-Groove) gives no illusions as to what its intentions are. A rolling, bass-driven start builds to filtered vocals and punchy brass - we’re in house territory but it’s so much more than that. A prime-time fist pumper of a tune, this will have dance floors offering their souls to Sourires in exchange for good times.

Finishing off this four tracker is ‘Flavor’ (De Gama Re-Built). At 124bpm, it sneaks past you and taps you on the shoulder. Continuing the house vibe, Sourires brings us a swinging beat accompanied by dreamy vocals and subtle filtered keys. Strings and delicate guitar licks build to a glorious breakdown which reveals itself in full technicolour. Summery, sassy and sexy stuff.

Sourires has deliverdd a modern classic with the Pampasosa EP. This has to be in your record box for the summer - just watch the dance floor go!

On January 28, 2022, Lady Wray released her Piece Of Me album. A deeply personal record that takes on the good and the bad in life from deception and abuse to the joys of motherhood and triumph. The accolades the album has received in the year it has been out speak volumes. Performing on The Stephen Colbert Show, selling out multiple US tours, cleaning up in the best of 2022 lists, and then crushing an NPR Tiny Desk on the 1 year anniversary of the album.

Piece Of Me continues to find its way to new ears and has already proved itself a timeless classic. So where do you go from here? When Ghostface Killah reaches out and says he wants to do a remix of the title track you do that. The A side, "Piece Of Me" (Remix) features Ironman himself who puts down a verse about a relationship that ran its course but no one is sure they did the right thing in. Ghostface sounds right at home over the gully Leon Michels produced track and takes the already rock solid tune to another level. Then what do you do for a B side.... You call The Chocolate Boy Wonder, Pete Rock and get him to remix "Joy & Pain". Pete takes one of the stand out tunes on the album and gives it an entirely different energy with thundering drums and a bassline that shake the windows in the car.

After the success of “Navegar” (2021) Joao Selva continues to spread wings, taking us on a journey into his musical universe, always as sunny as it is abundant. His new album “Passarinho” span a generous palette of musical influences: from Angolan semba to Cape Verdean funaná, via Caribbean zouk or Congolese rumba – João Selva's music channels the musical pulse of the Black Atlantic. In the most (im)pure Brazilian tradition, he also digests the contribution of North American music and freely incorporates elements from elsewhere into the irresistible rhythms of Brazil.

This new album transposes the elegant melodies and magnetic vocals of Joao Selva into unexpected musical universes, each producer having had complete freedom to add their own soundscapes. Patchworks present a sublime acoustic version of "Passarinho" mixing Caribbean percussion and captivating vocal harmonies. Art of Tones brings its sense of fiesta, transforming the infectious optimism of “Cantar cantar" into exuberant Afro-Latin euphoria. Voilaaa serve us his raw afro-disco grooves on “Vai te curar” adding smooth horns, sparkling funky keys and acid basslines. Canadian dancefloor killer Poirier takes "Chuva" to another dimension, adding his science of beats and a powerful bass to keep us dancing all night long (and even in the rain!). Uptown Funk Empire delivers an additive version of the irresistible "Menina me encanta", while Ireke elegantly revisits “Sete Ventos”.

Joao Selva and his crew distill lively and joyful music, full of good vibes and perfect for fully enjoying the summer. Take your caipirinha and go dance!

The long side is a weird Drum & Bass tune, full of space tricks and quiet unformated : No More Hardcore (by Opiohm). B side starts with "Order" (by Snox) a good Bassline tune that turns into Hard techno after 3 minutes... The Last tune "Museilum" (by Snox) b1iss a space Drum & Break tune bringing the Freebreak into something total space. An excellent record.

Hot on the heels of his successful first Rubi Records release, Ashley Tindall, AKA Skeptical, comes with another three-track EP showcasing his evolving and expanding sound. The opener, 'Rhubarb', shows clear influences of fatherhood, with sampled sounds of happy childhood leading into what is possibly Skeptical's deepest track to date. While this is no piece of bland 'intelligent' D&B by any stretch, the build up intro of warm pads that leads into a chilled head-nodder stands a good chance of having you listening with eyes closed, smiling as fond memories wash over you. Next up is the deceptive 'Capsize'. Starting with the strings of an old sea shanty, the track sounds like it will follow the more chilled route of 'Rhubarb', before the introduction of some twisted minimal sonics and trademark 'steppy Skeppy' drums quickly change that notion! The swift addition of a fizzing, rubber-band b-line completes the switch up and you're sailing on far from calm waters. The return of the shanty violins amidst this is inspired, showing that breaking from the expected norm is not just something that this producer isn't shy of doing, but something he does exceptionally well. To round off, Skeptical steps back into more typical sonic territory with a slice of intense D&B minimalism titled 'Foiled'. This deceptively simple-sounding track hides a wealth of meticulously-crafted and perfectly-balanced elements that deliver a somewhat claustrophobic atmosphere that will appeal to lovers of the outer-edges of cutting-edge D&B. Skeptical's new EP promises to be just as successful as his first release, showcasing his unique and evolving sound.

An exciting new Record producer, with a sound that blends elements of Electro, Breaks, and Techno, Doppelbanger is quickly making a name for himself in the underground music circuit.
Drawing inspiration from the pulsing rhythms of the latest Electro sound with artists like Locked Club , Re:drum , Dagga, Manao & Hermeth leading the revolution. He infuses his tracks with a gritty energy that sure gets crowds moving on the dancefloor, but he also brings a modern twist to the genre, incorporating lush synths, intricate percussion, and cleverly manipulated samples to create a sound that is both nostalgic and forward-thinking.

Whether you’re a die-hard Electro fan or just looking for some fresh beats to get your groove on, Doppelbanger is sure to deliver the goods. So tune in, turn up, and let the vibes wash over you!

His first EP has just been released across all streaming platforms, along with the 1st press of Vinyl Records, grab a copy soon, before it is sold out!

Write up for EP: 2020 Vision

Welcome to an Electro-infused sonic journey! This EP captures the essence of a unique musical vision, blending captivating melodies, pulsating beats, and intricate soundscapes. With five tracks that span a range of moods and emotions, you are invited to immerse yourself in this electrifying experience.
From the moment the first track kicks in, you’ll find yourself transported to a world where synths come alive and rhythms intertwine with ethereal soundscapes. Each composition has been carefully crafted to take you on a sonic adventure, weaving together elements of Electro, pulsing basslines, and mesmerizing textures that will leave you craving for more.

Throughout this EP, Doppelbanger has pushed the boundaries of the genre, exploring new sonic territories while staying true to its roots.

The five tracks on this EP are meticulously arranged and mixed to ensure a seamless flow, creating an immersive experience that will keep you engaged from start to finish. Whether you’re looking to lose yourself in the infectious grooves or find solace in the introspective moments, this collection of songs has something for everyone.

Known as ‘the Architect of Rock ‘n’ Roll,’ the flamboyant rhythm and blues extrovert, Little Richard, made an incredible impact with unorthodox piano playing and rasping, shouted vocals, yielding a series of pivotal hits in the mid-1950s, but he abandoned secular music for gospel following a tour of Australia in 1957. Lured back into rock by promoter Don Arden, his UK tour featuring The Beatles as support, Little Richard Is Back was his comeback set for Vee Jay, his voice now deeper and seasoned; the range of covers are tackled with plenty of pep, and original ‘Groovy Little Suzy’ was co-written by Harry Nillson. All hail the King!

Lori McKenna titled her album 1988 after the year she married her husband, Gene, yet the 10 songs within also serve as a love letter to lifelong friendships, people she’s lost, and her family. Recorded with producer Dave Cobb in Savannah, Georgia, 1988 naturally has its nostalgic moments, even if not every ending is a happy one. With more of an electric edge than her past projects, 1988 feels in step with classic ‘90s albums by Sheryl Crow or Gin Blossoms, where the lyrics pulled you in as much as the melody or production. Playing together on acoustic guitars while facing one another in the studio, McKenna and Cobb tracked the album live, giving it a feeling of immediacy and authenticity.

The debut album, "Won’t Die This Way," from Cleveland-bred singer/songwriter/guitarist Erin Viancourt brings her lived-in storytelling to a gritty but gorgeously detailed batch of songs, encompassing everything from Americana to Western swing to classic outlaw country. Rooted in the warm and radiant vocal presence she’s shown onstage in touring arenas with Cody Jinks (who recently made Viancourt the first signing to his Late August Records), Won’t Die This Way ultimately reveals her rare capacity to soothe the soul and leave the listener newly empowered to live each day to the absolute fullest.

Betty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (Betty Davis and They Say I’m Different), and Nasty Gal for Island Records, Davis went to work on her most personal and expressive record yet. After capturing 10 hard-hitting tracks in 1976 at the remote Studio In The Country (Louisiana), a creative difference with her then label caused the platter to be unexpectedly shelved. Davis would cut one final album and soon retreat from the music business, completely disappearing from the public eye.

Is It Love Or Desire is a little-known gem in the Davis catalog. Mastered from the original tapes, and untouched for over 30 years, this release features detailed liner notes, the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House.

Never bootlegged, never released, never heard until now, the secret story of this lost album will finally enter the history books and cement this bold soul sisters contributions to music and popular culture. Its time to get down…

PUBLIC INTEREST can do no wrong in our eyes and they held the door open for you again. This LP is even denser and fuller than their previous Between 12". If you like dark post-punk, you might like this, as much as we do. Synthy post-punk that surprises with every track. ETT is proud to bring the 2nd vinyl from this project out of Oakland featuring (or maybe even consisting entirely of?) a member of Marbled Eye. Marbled Eye’s recent recordings showcased their ability to write catchy post-punk tunes and this 8-song LP from Public Interest is the same level. While you’ll hear plenty of those memorable guitar lines that made the Marbled Eye tracks so great, the songs here feel snappier, more concerned with generating a pop-inspired forward momentum than stretching things out and floating in mid-air. The angular synth lines and mechanical rhythms are a nice counterpoint to those fluid guitar lines, imbuing Between with an irresistible tension. This is utterly brilliant. I don't have a favourite track because this record is just good and coherent in its integrity. Guitars sound ace, drums and bass are on point and the vocals give some pop shades that are never annoying. Really great enjoyable LP.

Destructive, mischievous, and politically incorrect are just some of the words to describe L.A.'s Angry Samoans. And with their second album Back From Samoa, they remain to have that inability to care about who's toes they step on; as long as they continue to blast out their aggressions, it's all good. The results are pretty tasteless and without shame with songs like "They Saved Hitler's Cock" and the cuss ridden "Ballad of Jerry Curlan." Then there's the hit-you-from-behind "Lights Out," "Steak Knife," and "You Stupid Jerk," each clocking in under a minute. With this amount of nihilism, "Back From Samoa" can instigate the trouble-maker out of anyone. And give additional credit to the Samoans for being this blunt, PC activists will be screaming for the doors upon hearing this. - AllMusic

Challenging the critics that put them in a box, PVRIS defied genre and past expectations with songs like the fearless and valiant ‘GODDESS’,
the effervescent ‘ANYWHERE BUT HERE’ and the Mike Shinoda-produced anthem, ‘TAKE MY NIRVANA’. With a huge year ahead playing Sad Summer Festival with Taking Back Sunday, rooms
with POPPY, and UK arenas with Fall Out Boy, PVRIS are ready to burn down the everything you think you know and unleash the album of the Summer.

Seit fast zwanzig Jahren mischen die Dirty Heads Hip-Hop, Reggae und Rock zu einem einzigartigen Sound, der sowohl ihre Wurzeln in Huntington Beach, Kalifornien, verkörpert als auch ein Publikum auf der ganzen Welt anspricht. Mit ihrem Hit "Vacation", der auf der Plattform über 6 Milliarden Streams und Views hat, sind die Dirty Heads auf TikTok zum viralen Hit geworden und haben über 5 Millionen monatliche Hörer auf Spotify. Ihr mit Spannung erwartetes neues Album Midnight Control enthält 11 brandneue Songs, darunter ihre Interpretation von Joe Walshs 1978er Hit "Life's Been Good", "Rescue Me" und "Island Glow". Midnight Control - das achte Studioalbum der Band - wird die herausragende Erfolgsbilanz der Band bestätigen, denn alle sieben Alben der Band waren in den Top 10 der Billboard Top Independent Albums Charts und Billboard Top Alternative Albums Charts vertreten.

Exzellente Werkschau von DJ Cam, Mitinitiator des French Touch, auf pinkfarbenem Vinyl. 11 fein selektierte Tracks aus seiner über 20-jährigen Karriere zwischen French House, Jazz, Hip-Hop, Trip-Hop.

Last summer saw youANDmedelivered his “Diva 2022” mix of "PPPPP" a track that would ignite dancefloors across Ibiza and become one of the smashes of the summer in the process. The label was always certain the record was a hit and the response that followed justified their faith.

The track went on to be championed across the globe by the likes of Ame, Dixon, Matthias Tanzman and Pete Tong (Radio 1) leaving a succession of dancefloors demolished in its wake. Fast forward to 2023 and the Cult brings in a smorgasbord of house music’sfinest to breathe fresh verve into what is rapidly becoming a future house classic.First, comes the unmistakable dancefloor call of the “Diva” mix, with its fierce retro vocal and contagiously looping house sound. Its raw undeniable groove shook dancefloors for a reason the first time around and here it is to do the damage all over again. Next, house music legend Ian Pooley hops on board to serve up a delicious slab of fat analogue deepness.


A rework for the real house heads, it drenches the original vocals in reverb and creates a tough sub-laden groove bound to work deeper floors. House music’s producer of the moment Cinthie delivers a red-hot reinterpretation that ups the bpm count and zones in on the drums. The Berlin-based producer creates a colossal house-breaks crossover that is bound to tear apart dancefloors. Reese subs fill out the lows while organs deliver the original rave flavour and take the track into orbit.


Finally, Tel Aviv’s Yotam Avni turns out a remix that delivers shades of the pure old-school house with piano stabs sitting alongside deep chords before he puts his tougher-edged modern techno stamp onto it. Rhythm Cult is on a roll now returning with one of the most hyped tracks of 2022. This package delivers the goods with fresh remixes for 2023 from some of the best in the industry who are now added to the label's impressive roster.

Frontier's Edge is the new EP by the fiery, energetic and genre-defying group The Budos Band. After a two-decade run with the legendary Daptone Records, Frontier's Edge is the first new music from the group on the new label, Diamond West Records - run by The Budos' saxophonist Jared Tankel and guitarist Tom Brenneck. The Budos Band's departure from Daptone was on good terms; the split from their long-time home base was an organic result of the band's evolution. "It's just a natural growth," Brenneck says, admitting: "We're going further away from the sound of Daptone and into territory they probably wanted to stay away from." As a result, Frontier's Edge finds the group hungry, passionate and primed to charge into their next epoch newfound sense autonomy within the collective.

"We're a powerhouse in the studio; we can produce ourselves," Brenneck says proudly of a long process of self-containment. "I take the helm, but the band, they know what they want." As expected from The Budos Band, Frontier's Edge resists analysis; it represents the band as they are: a contained explosion.

You don't pick apart Frontier's Edge; you feel it all at once. "Somehow, we wrote six songs in two days," says The Budos' drummer, Brian Profilio. "Tom was able to take what we were doing and put it together in a cohesive manner." Whether this is your first rodeo with The Budos Band or you've been following them throughout their two-decade run, Frontier's Edge contains their musical universe - Afrobeat, Ethiopian music, proto-metal, any number of other streams - in microcosm.

Frontier's Edge is the new EP by the fiery, energetic and genre-defying group The Budos Band. After a two-decade run with the legendary Daptone Records, Frontier's Edge is the first new music from the group on the new label, Diamond West Records - run by The Budos' saxophonist Jared Tankel and guitarist Tom Brenneck. The Budos Band's departure from Daptone was on good terms; the split from their long-time home base was an organic result of the band's evolution. "It's just a natural growth," Brenneck says, admitting: "We're going further away from the sound of Daptone and into territory they probably wanted to stay away from." As a result, Frontier's Edge finds the group hungry, passionate and primed to charge into their next epoch newfound sense autonomy within the collective. "We're a powerhouse in the studio; we can produce ourselves," Brenneck says proudly of a long process of self-containment. "I take the helm, but the band, they know what they want." As expected from The Budos Band, Frontier's Edge resists analysis; it represents the band as they are: a contained explosion. You don't pick apart Frontier's Edge; you feel it all at once. "Somehow, we wrote six songs in two days," says The Budos' drummer, Brian Profilio. "Tom was able to take what we were doing and put it together in a cohesive manner." Whether this is your first rodeo with The Budos Band or you've been following them throughout their two-decade run, Frontier's Edge contains their musical universe - Afrobeat, Ethiopian music, proto-metal, any number of other streams - in microcosm.

From the opening strains of the politico title-track to the countrified pedal steel guitar on "Man With A Mission," from the anti-establishment anthem "American Jesus," to the heart rending ballad "Struck A Nerve," Bad Religion"s Recipe For Hate is by far their most eclectic album, and one that never ceases to stir up controversy among fans. Graffin, a seething combination of perfect pitch and skeptical emotion, reaffirms his place as one of the best punk rock vocalists on this record. Guest appearances abound, from Eddie Vedder (of Pearl Jam fame) harmonizing on "American Jesus" and "Watch it Die," to Concrete Blonde"s Johnette Napolitano"s stunning vocals on "Struck A Nerve," to Claw Hammer"s John Wahl and Chris Bagarozzi"s searing guitar leads on "Kerosene." As the songwriting team of Graffin/Gurewitz pull back from their more introspective writing that appeared on some of the previous albums, they focus ever more keenly on the events of the day. Recipe For Hate is a scathing commentary on the state of the nation, a social criticism addressing alcoholism, abortion and homelessness. Reissued on limited edition Red w/ black smoke vinyl to celebrate the album"s 30th anniversary!

GER Als Night Beats erschafft der in Texas geborene und in LA lebende Künstler Danny Lee Blackwell Musik, wie man ein Puzzle zusammensetzen könnte. Der psychedelische Autorenfilmer aus dem Westen baut sein Werk aus einem Moment, einer Initialzündung, auf, die bestimmte Kriterien erfüllen muss: Sie muss ihm Gänsehaut bereiten. Wenn dieses Gefühl eintritt, verfolgt Blackwell die Idee unermüdlich, bis er einen neuen Song hat; wenn nicht, geht er zum nächsten Moment über, immer auf der Suche nach dem perfekten Molekül eines Songs. Auf seinem sechsten Night Beats-Album "Rajan" zeigt sich der Songwriter von seiner besten Seite und erschafft Werke, die mit fesselnden Melodien und hypnotischen Rhythmen glänzen, aber auch durch subtile handwerkliche Entscheidungen unterstrichen werden, die nur nach unzähligen Stunden im Studio erreicht werden können. Blackwell erschafft ein Werk, das irgendwo zwischen Spaghetti-Western-Filmmusik und Psych-Pop-Opus angesiedelt ist, ein karrierebestimmendes Album, das viel über Danny Lee Blackwells künstlerische Philosophie verrät und gleichzeitig den so wichtigen Hauch des Geheimnisvollen bewahrt. Exklusiv für den Indie-Handel, todesrote LP, handnummeriert mit Poster und DLC.


ENG As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell's artistic philosophy while keeping that ever crucial air of mystery intact. Indies only LP on 180g 'Dying Red Giant' coloured vinyl, limited to 350 hand-numbered copies, fold-out art poster, download card included.

Am 28. Juli wird die Britin "UNHEALTHY" herausbringen, ihr dritter Longplayer und Nachfolger des 2021 veröffentlichten "Therapy".

Mit ihrem neuen Album lädt uns Anne-Marie einmal mehr in ihr Leben ein und bietet Einblicke in ihre perfekt imperfekte Welt. Vor einiger Zeit stellte Anne-Marie fest, dass sie sich bereit fühlte, vergangene Beziehungen aufzuarbeiten, die nicht immer harmonisch geendet waren - und damit zugleich zu lernen, positive neue Begegnungen richtig für sich einzuordnen. Die Songs entstanden in dieser Phase und nehmen uns mit auf eine Reise von Zerrissenheit zu Zufriedenheit. Auf "UNHEALTHY" erleben wir eine Anne-Marie, die erhobenen Hauptes dasteht und diese neue Version ihrer selbst zu lieben lernt: kämpferischer, mutiger - und glücklicher als je zuvor.

Anne-Marie blickt Stand heute auf sieben Top-10-Singles (darunter zuletzt "Psycho" (feat. Aitch) und zwei Top-3-Alben im UK, in Deutschland eroberte die Sängerin erstmals 2018 Platz 1 der Single-Charts ("Friends" mit Marshmello). International wurde die Musik von
Anne-Marie bereits sieben Milliarden Mal gestreamt.

Zuletzt tat sich die Künstlerin mit David Guetta und Coi Leray für "Baby Don't Hurt Me" zusammen, das die deutschen Top 20 erreichte.

Das Role-Playing-Game "Cassette Beasts" liefert einen mitreißenden 80er-Synthie-Rock-trifft-auf-britischen-Indie-Soundtrack, der vom Briten Joel Baylis komponiert wurde und bei dem die Newcomerin Shelby Harvey, den Gesang übernimmt. Der Soundtrack nimmt seine Hörer mit auf die mysteriöse Insel New Wirral und bietet alles: Von Lo-Fi Akustikballaden bis hin zu stadiontauglichen Hymnen. Apropos, willkommen in New Wirral, einer abgeschiedenen Insel, die von mysteriösen Kreaturen bewohnt wird, die man sonst nur aus den Albträumen kennt, die man niemandem wünschen möchte. Die Insel wird aber auch von einem tapferen Völkchen, das Kassetten benutzt, um gegen diese Monster in die Schlacht zu ziehen. Um wieder nach Hause zu finden, gilt es, die Insel bis in die letzte Ecke untersuchen und Monster auf Tape zu bannen, um ihre Eigenschaften zu erlangen! Joel Baylis gibt einen kurzen Einblick in seine Vision hinsichtlich des Soundtracks dem Resultat seiner Arbeit: "Mein Ziel war es, als ich die Musik für Cassette Beasts gemacht habe, etwas zu erschaffen, dass irgendwo zwischen einem Rollenspiel-Soundtrack und einem 80er Synthie-Rock-Album liegt. Ich denke, selbst wenn man diese Einflüsse in Betracht zieht, ist etwas höchst Eigenständiges entstanden. Es fällt schwer, den einen Genre-Stempel aufzudrücken, dafür versammelt die Musik zu viele Stimmungen und Stile." Darüber hinaus könnte die Freude bei Baylis über die Veröffentlichung des Soundtracks auf wunderschönem lila und mintgrünem Vinyl sowie natürlich auch auf limitiertem Tape kaum größer sein: "Die Stücke für den physischen Release wurden mit viel Bedacht ausgewählt und zusammengestellt, so dass alle Aspekte des Soundtracks perfekt in Szene gesetzt werden und das Produkt einfach großartig in jeder Sammlung aussehen sowie unter der Nadel klingen wird." Und da sich bei "Cassette Beasts" alles um die legendären Tonbänder dreht, haben sich Black Screen Records natürlich ebenfalls um eine limitierte Auflage von Tapes gekümmert. Alles bereit für die Monsterjagd! Der "Cassette Beasts"-Soundtrack ist nicht nur für Indie-Gamer ein Muss, sondern auch für Fans von Künstlern wie CHVRCHES oder Liebhaber des 80er Synthie-Sounds.

Das Role-Playing-Game "Cassette Beasts" liefert einen mitreißenden 80er-Synthie-Rock-trifft-auf-britischen-Indie-Soundtrack, der vom Briten Joel Baylis komponiert wurde und bei dem die Newcomerin Shelby Harvey, den Gesang übernimmt. Der Soundtrack nimmt seine Hörer mit auf die mysteriöse Insel New Wirral und bietet alles: Von Lo-Fi Akustikballaden bis hin zu stadiontauglichen Hymnen. Apropos, willkommen in New Wirral, einer abgeschiedenen Insel, die von mysteriösen Kreaturen bewohnt wird, die man sonst nur aus den Albträumen kennt, die man niemandem wünschen möchte. Die Insel wird aber auch von einem tapferen Völkchen, das Kassetten benutzt, um gegen diese Monster in die Schlacht zu ziehen. Um wieder nach Hause zu finden, gilt es, die Insel bis in die letzte Ecke untersuchen und Monster auf Tape zu bannen, um ihre Eigenschaften zu erlangen! Joel Baylis gibt einen kurzen Einblick in seine Vision hinsichtlich des Soundtracks dem Resultat seiner Arbeit: "Mein Ziel war es, als ich die Musik für Cassette Beasts gemacht habe, etwas zu erschaffen, dass irgendwo zwischen einem Rollenspiel-Soundtrack und einem 80er Synthie-Rock-Album liegt. Ich denke, selbst wenn man diese Einflüsse in Betracht zieht, ist etwas höchst Eigenständiges entstanden. Es fällt schwer, den einen Genre-Stempel aufzudrücken, dafür versammelt die Musik zu viele Stimmungen und Stile." Darüber hinaus könnte die Freude bei Baylis über die Veröffentlichung des Soundtracks auf wunderschönem lila und mintgrünem Vinyl sowie natürlich auch auf limitiertem Tape kaum größer sein: "Die Stücke für den physischen Release wurden mit viel Bedacht ausgewählt und zusammengestellt, so dass alle Aspekte des Soundtracks perfekt in Szene gesetzt werden und das Produkt einfach großartig in jeder Sammlung aussehen sowie unter der Nadel klingen wird." Und da sich bei "Cassette Beasts" alles um die legendären Tonbänder dreht, haben sich Black Screen Records natürlich ebenfalls um eine limitierte Auflage von Tapes gekümmert. Alles bereit für die Monsterjagd! Der "Cassette Beasts"-Soundtrack ist nicht nur für Indie-Gamer ein Muss, sondern auch für Fans von Künstlern wie CHVRCHES oder Liebhaber des 80er Synthie-Sounds.

Imagine if Eric Carle had been signed to Ghost Box, or if the Look Around You team had ended up taking over the Radiophonic Workshop. If you can picture that kind of sound, we’re ready to welcome you to the Cosmic Neighbourhood.

Cosmic Neighbourhood’s Gatherings is an album made for wild imaginations and deep daydreams. Its fourteen tracks provide the kind of trip you can take if you close your eyes tight enough and let your mind wander. It’s the music of small things, groovy sounds from way underground that’s inspired as much by Martin Rev and Moondog as it is by walking trees, pine cones catching the bus, nocturnal farmyard symphonies and the movements of butterflies reimagined through restless drum machines. Sounds good? Come join the gathering. There’s room for everyone.

Cosmic Neighbourhood is the musical alias of York-based illustrator and musician Adam Higton. Adam’s work encompasses comic strips, collage and sound art and documents the daily goings-on of the forest folk within the realm of the Cosmic Neighbourhood. His two albums on Kit (|Collages I and II) see each song acting as a response to a series of paper-and-scissors compositions. Sonically, these records straddle new and old, taking modular electronics, flutes, bells and softly pattering drum machines, before colouring them all with the amber glow of some forgotten, psychedelic kids' TV programme. Higton's benign toots and echoing jingles bring to mind Daphne Oram's early delay experiments or the meandering playfulness of Tom Cameron. Radiophonic and time-worn, it still somehow sounds like the future.

Gatherings follows previous Cosmic Neighbourhood albums Library Vol 1 and Collages I and II. Previous Rivertones releases include spoken word and found sound collages by Robert Macfarlane & Chris Watson, poetry and elemental music by Will Burns & Hannah Peel and the soundtrack to Wolfgang Buttress’ Hive structure at Kew Gardens by Be.

Ein charmanter Dieb und eine Gruppe ungleicher Abenteurer unternehmen einen epischen Raubüberfall, um ein verlorenes Relikt zu bergen.

Mit ”Dungeons & Dragons: Honour Among Thieves” kommt die vielschichtige Welt des legendären Rollenspiels in einem unterhaltsamen und actiongeladenen Abenteuer auf die große Leinwand. Chris Pine, Michelle Rodriguez, Regé-Jean Page, Justice Smith, Sophia Lillis, Chloe Coleman, Daisy Head und Hugh Grant spielen die Hauptrollen in diesem epischen Fantasyfilm, der auf dem kultigen Hasbro-Tischspiel Dungeons & Dragons basiert.

Der Soundtrack stammt aus der Feder des Grammy und Emmy Gewinners Lorne Balfe, der auch die Musik von Blockbustern wie Mission Impossible Fallout oder preisgekrönten Serien wie The Crown geschrieben hat. Mit rasanten Orchesterarrangements und starken Melodien erweckt der schottische Komponist diesen Film zum Leben.

Über die Musik selbst sagt Balfe: ”Ich bin so glücklich, der Komponist für ’Dungeons & Dragons: Honour Among Thieves’ zu sein. Ich habe mit diesem Spiel begonnen, als ich 7 Jahre alt war, und ich bin begeistert, dass eine neue Generation das Spiel entdeckt, mit dem ich aufgewachsen bin. Die Musik ist voll von zarten, mystischen, keltischen Reisen, gemischt mit einem großen, üppigen Kino Orchester. Mit diesem Werk konnte ich meine schottischen Wurzeln richtig ausleben!”

Ein charmanter Dieb und eine Gruppe ungleicher Abenteurer unternehmen einen epischen Raubüberfall, um ein verlorenes Relikt zu bergen.

Mit ”Dungeons & Dragons: Honour Among Thieves” kommt die vielschichtige Welt des legendären Rollenspiels in einem unterhaltsamen und actiongeladenen Abenteuer auf die große Leinwand. Chris Pine, Michelle Rodriguez, Regé-Jean Page, Justice Smith, Sophia Lillis, Chloe Coleman, Daisy Head und Hugh Grant spielen die Hauptrollen in diesem epischen Fantasyfilm, der auf dem kultigen Hasbro-Tischspiel Dungeons & Dragons basiert.

Der Soundtrack stammt aus der Feder des Grammy und Emmy Gewinners Lorne Balfe, der auch die Musik von Blockbustern wie Mission Impossible Fallout oder preisgekrönten Serien wie The Crown geschrieben hat. Mit rasanten Orchesterarrangements und starken Melodien erweckt der schottische Komponist diesen Film zum Leben.

Über die Musik selbst sagt Balfe: ”Ich bin so glücklich, der Komponist für ’Dungeons & Dragons: Honour Among Thieves’ zu sein. Ich habe mit diesem Spiel begonnen, als ich 7 Jahre alt war, und ich bin begeistert, dass eine neue Generation das Spiel entdeckt, mit dem ich aufgewachsen bin. Die Musik ist voll von zarten, mystischen, keltischen Reisen, gemischt mit einem großen, üppigen Kino Orchester. Mit diesem Werk konnte ich meine schottischen Wurzeln richtig ausleben!”

Prince Daddy & The Hyena’s first full-length record, I Thought You Didn’t Even Like Leaving, is a collection of songs did a solid job building off of the foundation laid by their previously released Adult Summers EP and showcased a band that was onto something special by effortlessly marrying the worlds of pop music and the throaty, anxiety-fueled punk.

Am 28. Juli wird die Britin "UNHEALTHY" herausbringen, ihr dritter Longplayer und Nachfolger des 2021 veröffentlichten "Therapy".

Mit ihrem neuen Album lädt uns Anne-Marie einmal mehr in ihr Leben ein und bietet Einblicke in ihre perfekt imperfekte Welt. Vor einiger Zeit stellte Anne-Marie fest, dass sie sich bereit fühlte, vergangene Beziehungen aufzuarbeiten, die nicht immer harmonisch geendet waren - und damit zugleich zu lernen, positive neue Begegnungen richtig für sich einzuordnen. Die Songs entstanden in dieser Phase und nehmen uns mit auf eine Reise von Zerrissenheit zu Zufriedenheit. Auf "UNHEALTHY" erleben wir eine Anne-Marie, die erhobenen Hauptes dasteht und diese neue Version ihrer selbst zu lieben lernt: kämpferischer, mutiger - und glücklicher als je zuvor.

Anne-Marie blickt Stand heute auf sieben Top-10-Singles (darunter zuletzt "Psycho" (feat. Aitch) und zwei Top-3-Alben im UK, in Deutschland eroberte die Sängerin erstmals 2018 Platz 1 der Single-Charts ("Friends" mit Marshmello). International wurde die Musik von
Anne-Marie bereits sieben Milliarden Mal gestreamt.

Zuletzt tat sich die Künstlerin mit David Guetta und Coi Leray für "Baby Don't Hurt Me" zusammen, das die deutschen Top 20 erreichte.

Amazingly, but not unsurprisingly, these records still blow the roof off, reissues of the first two White Stripes singles, originally released in another millennium: This is a reissue of their second 7" release, two tracks, the b-side is Sugar Never Tasted So Good, an essential 45!!

Rhythm clusters and constellations.

Back in stock!

Produced by Philadelphia's Legendary Sonny Hopson, Santiago is Indeed Neftali Santiago from Mandrill who took a break from the band in 1975 and did a little experimenting, this came out of a 6 hour sessions in which 3 tracks were recording, two being on this 45 and is Santiago's only lead vocal to date . The band lasted a year in that time supporting Gil Scott Heron and The Ohio Players live. A two sided disco stormer with all the right ingredients, great guitar hook, solid horn section and great vocal.Essential Disco

Frontier's Edge is the new EP by the fiery, energetic and genre-defying group The Budos Band. After a two-decade run with the legendary Daptone Records, Frontier's Edge is the first new music from the group on the new label, Diamond West Records - run by The Budos' saxophonist Jared Tankel and guitarist Tom Brenneck. The Budos Band's departure from Daptone was on good terms; the split from their long-time home base was an organic result of the band's evolution. "It's just a natural growth," Brenneck says, admitting: "We're going further away from the sound of Daptone and into territory they probably wanted to stay away from." As a result, Frontier's Edge finds the group hungry, passionate and primed to charge into their next epoch newfound sense autonomy within the collective. "We're a powerhouse in the studio; we can produce ourselves," Brenneck says proudly of a long process of self-containment. "I take the helm, but the band, they know what they want." As expected from The Budos Band, Frontier's Edge resists analysis; it represents the band as they are: a contained explosion. You don't pick apart Frontier's Edge; you feel it all at once. "Somehow, we wrote six songs in two days," says The Budos' drummer, Brian Profilio. "Tom was able to take what we were doing and put it together in a cohesive manner." Whether this is your first rodeo with The Budos Band or you've been following them throughout their two-decade run, Frontier's Edge contains their musical universe - Afrobeat, Ethiopian music, proto-metal, any number of other streams - in microcosm.