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Robert Glasper’s holiday album In December was released last year as an Apple Music exclusive. We’re now able offer it widely available to physical retail and all DSPs!



Is there anything to be done with carols like “God Rest Ye Merry Gentlemen” and “Joy to the World” that hasn’t been done in the past 300 years? If there is, Grammy-winning pianist, composer, and producer Robert Glasper is the kind of artist to do it. “I like covering songs that people know well,” Glasper tells Apple Music. “That’s what I’ve done throughout my whole career.” It’s true: As a jazz pianist, he’s obviously learned his way around making classics his own, whether they were written by Mongo Santamaría or Kurt Cobain. But, he says, “The biggest challenge in making a holiday album was trying to do it in a way that feels festive but at the same time feels real and not corny.”



He succeeds on both fronts on In December, his holiday album that mixes classic carols with a set of originals, and which was recorded in Spatial Audio. Part of what keeps it credible is the fact that Glasper’s hiphop/R&B/jazz fusion is done on a compositional level instead of just a cosmetic one (no collages of sampled sax solos and drum loops here). The covers reveal a lot about his musical worldview: Sung by Tony winner Cynthia Erivo (The Color Purple), “God Rest Ye Merry Gentlemen” is turned into dark, airy neo-soul, while “Joy to the World”—sung by Alex Isley—feels like a Stevie Wonder ballad. But the originals reveal even more. “The intention for this album was less about Christmas songs and more about songs that feel good during the holidays,” Glasper says. “I stayed away from thinking too much about Christmas and its traditional lingo, and concentrated on real things people go through during the holiday season.”

SYML—Welsh for “simple”—makes music that taps into the instincts that drive us to places of sanctuary, whether that be a place or a person. Born and raised in Seattle, Brian Fennell studied piano and became a self-taught producer, programmer, and guitarist. This May marked the fifth anniversary of his self-titled debut album, which included the platinum-selling song “Where’s My Love” and the Gold Record fan favorite, “Girl,” and one year since his sophomore album, The Day My Father Died, which was recorded and produced with fellow Seattle-native Phil Ek (Band of Horses, Father John Misty, Fleet Foxes) and features Elbow’s Guy Garvey, Lucius, Sara Watkins of Nickel Creek, and Charlotte Lawrence. In the last year, he was also featured on Lana Del Rey’s song, “Paris, TX,” from her Grammy-nominated album Did You Know That There’s A Tunnel Under Ocean Blvd, and realized several other notable collaborations including UK-electronic artist George Fitzgerald, Latin Grammy-nominated Colombian artist Elsa Y Elmar. In February 2024, he launched his imprint, FIN. Recordings, a new venture in collaboration with his label, Nettwerk Music Group, and management team, Good Harbor Music. Says Fennell about Infinity, “Sometimes, songs are wandering souls with no home, and it’s not until enough of them are written that the home is realized. I have a proud obsession with all things apocalyptic and the doom and wonder of an ever-expanding universe. This group of songs is an ode to the absurdity of human existence and my fondness for it. My inspirations were very cinematic ranging from big blaring soundscapes to more gentle, dusty settings like Ennio Morricone was so gifted in painting. I am fascinated by what humans are capable of, especially the stories we tell ourselves to explain our world and the space around it. Importantly, I am thankful for the creative space to make art without rules or expectation.

Having spent the last 10 years tinkering with his songwriting through his extensive catalog with folk/rock group Mapache, as well as his debut solo album ‘Off My Stars’, Sam works alongside co-producer Johnny Payne for his follow up sophomore solo album ‘Real Life Thing’ via Calico Discos.

Sam was born in Los Angeles in November 1994 and currently lives in Ojai, CA. Having had residence in Los Angeles, CA / Coahuila, MX / Orem, UT & New Orleans, LA - it’s safe to assume Sam will be on the move again soon and with more fresh energy to give of himself through his art. Determined to live by creation, Sam is the type of artist that is always creating something, maintaining a sort of inexhaustible hunger to make his music. Expressing himself through sound has now gone beyond joy and into being second nature and Sam’s real first language.

Discovered while working as a publishing assistant at Mute Records, Nerina Pallot signed to Polydor Records and released her first album in 2001. The release of her critically acclaimed second album, Fires, drew comparisons with Joni Mitchell, Fiona Apple and Tori Amos, and spawned hit singles Everybody's Gone To War and Sophia, plus Brit Award and Ivor Novello nominations.

Now two decades into her career, Pallot's rich and varied back catalogue suggests an artist determined to carve her own path. She has lent her distinctive vocals to songs like Circus from Amazon's Modern Love and her version of Love Will Tear Us Apart on BBC/RTE's Normal People.

The creation of her latest album, A Psalm for Emily Salvi, is a deeply personal endeavour. Born from an unexpected connection, the record is both a love letter to those who have supported her over the years and a tribute to the power of music in the face of adversity. One day, Pallot received a message from a woman named Emily (not her real name), who shared how Pallot's music had been a lifeline during her darkest moments. That message became the catalyst for the album, a reminder of the importance of perseverance, connection, and vulnerability. Recorded in London and featuring a stellar cast of British musicians from the jazz and soul scene, it is an album of light and dark and steeped in the classic singer-songwriter tradition.

In den acht Jahren, seit sich Amyl and The Sniffers in Melbournes brodelnder Musikszene zusammengefunden haben, hat es die Band perfektioniert, Verspieltheit und rohe Wucht zu kombinieren. Mit den zwei bisher erschienenen, einhellig gefeierten Alben (dem selbstbetitelten Debüt von 2019 und "Comfort To Me" von 2021), haben Sängerin Amy Taylor, Gitarrist Declan Mehrtens, Bassist Gus Romer und Drummer Bryce Wilson ihren einzigartigen Stil etabliert. Seit dem Release von "Comfort To Me" haben sich die Perspektiven für die Band in jeder Hinsicht exponentiell erweitert. Größer, klarer, smarter, schärfer, das ist es, was nun auch das dritte Album der Band antreibt. "Cartoon Darkness" hat die Band zusammen mit Nick Launay im 606 Studio der Foo Fighters in Los Angeles aufgenommen, am gleichen Pult, an dem schon Fleetwood Macs "Rumours" und Nirvanas "Nevermind" entstanden. Es ist ein überraschend abwechslungsreiches Album und reicht von klassischem Punk über den strotzenden Glam der Single "U Should Not Be Doing That" bis zur ausgelassenen Balladenhaftigkeit von "Big Dreams". Auf "Cartoon Darkness" geht es um Krieg, die Klimakrise und künstliche Intelligenz, um Politik und das Gefühl, online eine Stimme zu haben, während wir am Ende doch einfach nur das Daten-Biest Big Tech speisen, unseren Gott der Gegenwart. Es geht darum, wie unsere Generation mit Informationen vollgestopft wird, wie wir wirken wie Erwachsene und dabei doch für immer Kinder bleiben, abgeschirmt wie in einem Kokon und dabei all die Ablenkungen verschlingend, die uns nicht einmal Wohlbefinden oder Freude bereiten, sondern einfach nur Taubheit. "Cartoon Darkness" rennt mit dem Kopf durch die Wand ins Unbekannte, in die heranziehende Ahnung einer Zukunft, ein kindliches Dunkel, das sich schrecklich anfühlt, aber noch gar nicht existiert - ein großer rauer Spaß.

Following his most commercially and critically successful year to date, Conway the Machine returns with his first full length offering of 2024, “Slant Face Killah.” Long teased as the second half of the chart-topping 2023 album, “WON’T HE DO IT,” fans see Conway the Machine embracing his killer instincts on the mic, and doing so with versatility - rapping over the familiar gritty, dark beats fans remember discovering him on during his come up (Milano Nights, Pt. 1) to more unconventional beats, showcasing his ability to adapt and grow (Raw!). With an impressive feature list including Method Man, Raekwon, Joey Bada$$, Larry June, Key Glock, Jay Worthy & more, and production from heavyweight producers such as The Alchemist, Daringer, Conductor Williams, Cardo, Swizz Beatz & more, The Machine illustrates both his reach in today’s rap game, as well as his ability as a tastemaker. Known for consistently delivering quality music for his die-hard fans, The Machine is back to put his stamp on 2024. 2xLP Vinyl, includes Gatefold Jacket.

Fresh off a rework of Papa Levi with single Ribena, London’s jungle pioneers 4am Kru drop their highly anticipated debut album Incognito Rhythm featuring all the tracks that have cemented their reputation as the go-to act for raw, live jungle music.

Having already taken the 2024 festival circuit by storm with appearances at Outlook Origins, Boomtown, Boardmasters, Reading+ Leeds, The Blind Tiger, Parklife Waterworks, Boundary and a milestone Saturday night closing set at Glastonbury’s Temple Stage, 4am Kru continue to draw audiences into the madness of their raucous blend of 1993-1994 influenced jungle. First bursting onto the scene post-lockdown, the falling monitors and flying bodies of their shows were particularly thrilling for ravers who had turned 18 in isolation.

Originally developing their live sound in indie bands while sharing a studio in Tottenham, the duo quickly realized that the traditional DJ set couldn’t contain the energy of their act. They have since surrendered to the chaos of their incredibly physical performances, nursing chipped bones and back injuries, deep finger taping, chalking up and wearing shoes designed for skipping rope whilst rewiring what it meant to move their bodies. Their innovation extends to the equipment, with the duo reinventing a way to deliver their signature throbbing basslines with a Roland SPD SX drum pad as thick as a car tire. Their upcoming UK tour this October promises to further showcase their immersive, disruptive sound.

4am Kru’s latest single Ribena breathed new life into Papa Levi’s iconic British reggae classic Militancy following the release of hard-hitting Wutt this past July, setting the stage for their most ambitious project yet. Their debut album draws from a wide range of influences in addition to 4am Kru’s signature blend of 90s jungle flavours, from obscure slow jam R&B like Angela Bofill, Janet Jackson and Prince, early hardcore bands like Hüsker Dü, off kilter Scottish folk, and even classical music. The project is a snapshot of the incognito, nocturnal world that the duo have dwelled in for the past two years, a time capsule of well-worn songs played between midnight and 4am. An extraordinary debut, 4am Kru’s Incognito Rhythm is an immersive, razor sharp, face melting journey through their show-stopping live sound.

You Are The Morning was formed amid personal upheaval in 2021. "I came out as trans to my nearest and dearest," she says, "Some did not accept me, but some did." Jasmine got divorced, and a difficult home life meant she was writing while experiencing homelessness and precarious housing, sleeping on friend's couches and relying on community support. Despite the pain of some of its background, the record is an uplifting look at t4t love. Jasmine describes her first trans romance as the first time she experienced joy in a deep sense, because of her experience of living as a woman. First single `Skin on Skin' explores the new joy of physical touch. Usually a quick writer, it's a rare song that grew over time, during which a close connection with a friend began to form. "Sticking to the physical boundaries we wanted to have with each other became increasingly difficult. We were spending lots of time together, then falling in love. This song became a celebration of healing and physical catharsis found through unrepressed queer love." The first UK signee on Saddest Factory Records, the album was produced by Julien Baker, Phoebe Bridgers and Lucy Dacus. Jasmine and her band travelled to L.A. to record at Sound City Studios. It was made across 12 days in a highly collaborative and emotional process, and because Jasmine sees her songs as fluid and ever-changing, the recordings carry that free and spontaneous spirit. jasmine.4.t is supported by an all-trans band, Phoenix Rousiamanis contributes piano and strings, with Eden O'Brien on drums and Emily Abbott on bass. With Jasmine's voice and songwriting at the centre, the record incorporates a wider cast of voices. `Best Friend's House' features a chorus including her bandmates, Julien Baker, Phoebe Bridgers and Lucy Dacus ("the girls and the boys"), Saddest Factory Records label-mate Claud, Becca Mancari and E.R. Fightmaster. The song carries the communal spirit of the record's creation. On the closing track, `Woman', she is backed by the Trans Chorus of Los Angeles, a cross-generational group of trans singers who, like Jasmine, use their voice as a source of communal power. The song blossoms from solo performance to wider group catharsis. All the while, Jasmine sings unwaveringly about the power of knowing yourself at a core level: "I am, in my soul, a woman". The writing of You Are The Morning pulled from dark moments to tell its story. Surrounded by friends, the recording process was full of light. Through her performances, activism and artistry, jasmine.4.t is ushering in a new dawn.

Plastic Estate is a contemporary synth-pop act from Wales, UK.

With an onus placed on atmosphere and refinement, the duo evoke a rich palette of romance and lustre with their polished marque of pop music.

They have garnered support from the likes of Simon Le Bon of Duran Duran, KEXP and BBC Radio, and played sold-out shows with the likes of LA Priest, Home Counties, and Real Lies, as well as playing at large regional festivals like Ritual Union and Sŵn Festival.

Having previously released a 7” and LP with Avant! Records, they are now releasing their second album on 11th October with new tracks gaining critical acclaim being added to BBC Radio Wales’s ‘Welsh A-List’.
Their sophomore album hails a new era for the act; moving away from darker sonic roots, their sound has progressed to a brighter, more polished aesthetic with fresh influences from the ‘Hi-Fi luxury’ of West Coast Sound, and the gloss of 2010s Chillwave.

What’s more, ‘Code d’Amour’ makes you wonder: What is Pop today?

For many years it has been synonymous with melody, harmony and emotions. These days it seems to be still about emotions but not very good ones, probably because the world is as ugly as it’s ever been, have you noticed?

But what about the fundamental role of popular music which is to represent and at the same time to celebrate and enforce the ties of social living? What about the good times?

Yes, there is a lot to be changed and to fight for but good vibes are not just for recreational use, they can literally build a sense of community among people. If you are looking for that kind of sound right now, you should look no further.

FFO: Talk Talk, Blue Nile, Spandau Ballet, Ian Broudie’s Care, Small Black, Alan Palomo of Neon Indian, Wild Nothing.

Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life head on, bristling with energy, 10 glimpses of the human spirit in the darkness.
Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil, they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and guitar. The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away and small gestures of solidarity in the face of entropy.
Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically thrilling world-building on the album but the most
striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s Karl D’Silva music; pure physicality
breaking down to reveal a shining, compassionate vulnerability.
The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging from the dark. It’s a theme picked up
throughout the album: The Butcher is a political parable, the narrator holding power to account with grotesque, brutal imagery. It’s on a track
like Real Life that the true message emerges, however. D’Silva is peering through the layers of artifice, struggle and the fog of daily
living to find a life full of energy, connection and light. Each song here is a route into this light, out of the darkness.

2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Volksmusik returns after their last vinyl release in the year 2005 with 3 new unreleased tracks from the electro to post punk and new wave, sounds characteristic of the golden age of French electroclash plus 2 of his sought after tracks included in the EP "Glowing in the dark" released on the label Elektrofon, remixed and remastered from the original steams for a better sound and adaptation to the vinyl format to you don't have to delight the discogs sharks

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – Yearbook 1981. NOW – Yearbook 1981; a celebration of the eclectic and creative brilliance of the year in pop. 4 CDs of 85 tracks that defined the charts in 1981. Available on a 4CD special edition which is housed in ‘hard-back book’ packaging, including a 28-page booklet with a summary of the year, a track-by-track guide, a quiz, and original singles artwork, and as a standard 4-CD package. A limited edition 3LP set pressed in translucent red vinyl, limited to 3,000 units and a 4CD set

Pøltergeist haben bei Bad Omen Records (Watch Hazel, Satan's Satyrs) unterschrieben, und die Kanadier veröffentlichen ihr Debütalbum. Pøltergeist wird als eine Mischung aus Post-Punk, traditionellem Metal und Shoegaze aus den frostigen Ebenen beschrieben und spielt treibenden Coldwave, der einen Weg von den Katakomben in den Kosmos zeichnet. Die vielleicht prägenste Destillation des Pøltergeist-Stils kommt mit der Vorab-Single 'Children Of The Dark', einem eingängigen, stürmischen Rocksong, der auch thematisch auf einer doppelten Ebene funktioniert. Sänger Kalen Baker hegt seit langem eine Vorliebe für die mystischen Metal-Klänge von Angel Witch, Cauldron oder Blue Öyster Cult und war sowohl von der zeitgenössischen Post-Punk-Band Spectres als auch von der britischen Melancholie von 'Script From The Bridge' der Chameleons berührt. Ganz zu schweigen von Gothic- und Post-Punk-Legenden wie Sisters Of Mercy, The Sound und Paradigmen des Himmlischen wie Cocteau Twins, Slowdive und My Bloody Valentine. Gestärkt durch den lyrischen Einfluss spiritueller Vorläufer wie Moorcock, Lovecraft, Poe und David Lynch von Twin Peaks wurde der Sound von Pøltergeist geboren; ein düsteres, aber magisches Reich, in dem dämmrige Intensität in einem psychischen Kampf mit metallischer Stärke verbunden wird. 'Nachtmusik' bleibt Bakers Vision eines "Kaleidoskops aus Emotionen, Klängen und Ideen" treu. Dies ist eine Platte, die sich im Herzen nach dem spirituellen Reich der 1980er Jahre sehnt, aber mit den Füßen fest im Hier und Jetzt des 21. Jahrhunderts steht. Während sich am Himmel Gewitterwolken zusammenbrauen, beginnt Pøltergeists Reise in die Dunkelheit gerade erst.

Deaf Forever
8/10
"'Nachtmusik' alles mit, was eine gute Postpunk-Platte braucht: eingängige, gekonnt komponierte Songs, schwermütige Atmosphäre, guten Gesang mit klassisch monoton-melodischer Stimme und einen Spritzer Shoegaze"

Metal Hammer
5.5 / 7
"NACHTMUSIK fa?ngt die Sehn- sucht und dunkle A?sthetik des Achtziger Jahre-Deathrock fu?r die Gegenwart ein - ohne zu kopieren. Ganz ohne Zwang, dafu?r mit jeder Menge emotionalem Tiefgang und einem gewissen Gruselfaktor. Ein starker Auftakt und definitiv ein of- fenes Ohr wert - nicht nur an regne- rischen, euphorieberaubten Herbsttagen".

Rock Hard
8/10
"Wer auf Unto Others, In Solitude, Lunar Shadow oder Tribulation steht, wird mit ziemlicher Sicherheit auch Gefallen an der Musik von PØLTERGEIST finden, die für ihr Debütalbum "Nachtmusik" Elemente aus Gothic Rock, Heavy Metal, Post-Punk und Hardrock in einen Hexenkessel schmeißen, einmal kräftig durchrühren und die Suppe mit einer kräftigen Geisterbahn-Lyric-Würzmischung (in Anlehnung an weltbekannte Horror-Autoren wie Edgar Allan Poe und H.P. Lovecraft) abschmecken".

Orkus
"Dieses Debütalbum wartet auf mit charmanter Dunkelheit, gehüllt in einen intensiven Sound, der über Post-Punk-, Metal- und Death-Rock-Ein-Aüsse hinausgeht. Stimmungsvolle Vocals, starke Atmosphären und eingängige Dynamiken tragen Arrangements, in die man nur zu gerne versinkt".

London based Multi National noiseniks ‘Michael’ return with their second album ‘Nite Salad’, released on Crackedankles Records on October 18th.Nite Salad, the second offering...One studio fire, several collapsed spinal discs, two swapped out axemen and a couple o’ kids, all dragged through a taste-battering pandemic. A seriously good bedrock recipe primed for the unwanted A-road that is Nite Salad, Michael’s second full lengther. Another helping of thuggy dirt, funky hurt, baggy spunk and general malaise confronting the state of shitlife in the 2020s.Look elsewhere for optimism but sneak onto the good ship Mike for a destinationless, ill-prepared voyage into the deep,dark ocean of H E A V Y F U T U R E S.

For the Northern Soul collector few places rival Detroit as a source for quality, rare records. But Philadelphia comes pretty close and it is the city of brotherly love that produced America's number one independent record label... the mighty Cameo-Parkway. Here, for the first time, we present the very best that that iconic company has to offer.From the Wheel to Wigan, to the Weekender and beyond, the sound of Cameo-Parkway has packed the dance floors across the UK for over 50 years. From the opening bars of Dee Dee Sharp's driving cover of Mel Tormé's Comin' Home Baby' it's easy to see why the label is so highly prized by collectors and dancers alike and why this unique vinyl tribute will touch the hearts of the faithful! All of the classics are here: Chubby Checker, Christine Cooper, Bobby Paris, Yvonne Baker, Bunny Sigler, Jerry Jackson etc etc. The difficulty has been in deciding what to leave out, not what to include, maybe a second volume later in the year One thing is for certain, 1.2 million YouTube viewers just love Cameo-Parkway!

Moon White Vinyl. All her life, Emma Hardyman has wrestled with contradictions. After all, she was practically rendered a living, breathing contradiction the moment she was born into her half-Peruvian, half-white working-class Mormon family. In young adulthood, Hardyman became increasingly disillusioned with Mormonism's righteous black-and-white thinking, as well as its exclusionary elitism, and decided to leave the church. But she also acknowledged that the institution's all-or-nothing philosophy had become a part of her, resulting in a considerable test of grace and unlearning. As the singer-songwriter behind Little Moon, the Tiny Desk Contest-winning, Utah-based avant-folk project, Hardyman uses music as an outlet to illuminate contradictions of all kinds. Following the release of her 2020 debut LP Unphased, Hardyman set out to write a romantic album about her newlywed husband Nathan (who also sings and plays guitar in Little Moon), but the universe had other plans. After Nathan's mother tragically passed away, Hardyman recalibrated her vision and started work on a love-as-grief, grief-as-love album titled Dear Divine. The record serves as a mirror for the darkest parts of ourselves, allowing us to examine our ego_not to dismantle it, but to better understand how we love, process adversity and move through the world. Centering the classical music, folk, video game soundtracks and Tabernacle Choir hymns she grew up with, as well as ephemeral snapshots of personal significance, Dear Divine is an abundant tapestry of Hardyman's life. As enlivening melodies radiate from a string trio, you can envision the classical music that thrums from her parents' radio 24/7, as Hardyman sings in an otherworldly coo, you can imagine her younger self swooning over the tranquil records of Vashti Bunyan and Joan Baez, and as arpeggiated synths twinkle, you can visualize the enchanting kingdom of Hyrule from The Legend of Zelda: Ocarina of Time that she still adores. Songs like "now" and "messy love" embrace the gloriously jumbled stew of life, with the former chronicling Hardyman's arduous quest for love and trust and the latter patiently navigating the ways romantic partners can mirror each other's shortcomings. As Dear Divine attests, Emma Hardyman may not have it all figured out, but that's kind of the point. Through grief, faith crises and all-encompassing love, she's found the most wisdom in life's maddeningly consistent inconsistencies, as well as the subtle ways one can cultivate a feeling of home. Dear Divine doesn't take a red pen to life, it brings an open heart, an open mind and achingly beautiful, opulently weird folk songs.

Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing in conjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs and gentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backed by Mount Eerie. She sings: "I rose up from water." Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalt taking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range of American instruments. Violins, vibraphones, drum machines, electric guitars dappled with spring reverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by Michael Cormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian between spareness and verdancy. The result is a beguiling and darkly blooming realm: the sound of a personal cosmos being remade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and the stories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now I hold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "The Saint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as the record took shape; in its final form, they serve as inciting moments of self-discovery before the journey to come. "The Visionary" recalls one of Ringwalt's earliest musical breakthroughs _ her re-rendering of an Emily Brontë poem into a song at age 15 _ and, she says, "`cites' the melody of that song in the context of this new one _ a holding of the past and present and every layer in between/beyond, in utter solitude _ a solitude that reflects certain aspects of abandon as a child and an adult..." This unusually lengthy time-scale lends Strange Power! a deeply moving sense of narrative fullness. Stretches of the record _ particularly the "Judgment Day" ? "River" ? "Lilac Bloom" trifecta that form the black heart of Side 1 _ may recall familiar wanderings of personal underworlds such as Mount Eerie's Lost Wisdom Pt. 2 or Neil Young's Ditch Trilogy. Yet this hollowed landscape is in turn exorcized by the a capella "I Know," in which Ringwalt sings "I won't be gutted by you / For giving and trying to heal / I won't be gutted, I am not a fool / I deserve a love that is new" before the song concludes with a piano passage that recalls hymnal music _ suggesting a faith in life itself to offer new beginnings. Side 2 features some of Ringwalt's most powerfully introspective writing to date, as the songwriter casts off myth after myth in her search for personal transformation. By the final song, "Stories," the energy that has been gathering all throughout the record breaks loose as Ringwalt reflects: "I wrote so many stories, not knowing what the end was." But at this stage in the journey, we know there is no such thing as an ending; if the healing process is never complete, the storyteller's strange power is what finally offers liberation.

DJ MAG:
"Spanning 10 tracks, 'The Fifth Chakra (Ambient Space Tea)' explores sound system culture, covering one of the British-Jamaican artist's biggest influences. The record is largely beatless and focuses on the power of sub-bass and other electronics, moving away from the percussive house energy of much of his past material."


909Originals:
"The largely ambient album is a departure from the thumping beats that Mr G has become famous for, but it also displays his personal, emotional side - tracks like Constant, Solar Eclipse NYC and The 5th Chakra encapsulate an artist allowing himself the freedom to roam through his influences."


Resident Advisor:
"Never did I think I'd get to a meditative place and learn restraint,' he said. "This is the album I've always wanted to make, never thinking I could. Also, after loving others' bass-heavy albums, it's a joy to put my own into the mix. But I always remember my thing is weight and tone in whatever I take on. Especially in this flat, compressed world."

Das epische Power Metal-Highlight des Jahres 2010 in der längst überfälligen Vinyl-Neuauflage! Mit der Hymne "We Are Pirates" gelang der Band um Sänger Seeb Levermann seinerzeit der Durchbruch.
"Easton Hope" kommt nun erstmals als 2-Picture LP (limitiert auf 500 Einheiten), auf der alle Details des aufwendigen Andreas Marschall-Artworks perfekt darstellt sind; sowie als Clear White 2-Vinyl (limitiert auf 500 Einheiten).

One True Pairing, auch bekannt als Tom Fleming, ehemaliger Songwriter, Sänger und Multiinstrumentalist von Wild Beasts, veröffentlicht sein zweites Soloalbum 'Endless Rain' am 25. Oktober 2024 über Domino.

Aufgenommen in Dublin im Jahr 2022 mit Produzent John 'Spud' Murphy (Lankum, black midi, caroline) in den Hellfire Studios in Dublin, bekräftigt "Endless Rain" mutig Flemings künstlerische Vision - mit einem herbstlichen, suchenden und oft erhebenden Album, das von den Einflüssen traditioneller Musik, Klassik und Noise-Rock geprägt ist. Flemings langjähriger Kollaborateur Josh Taylor-Moon arrangierte, produzierte und spielte auf dem Album, ebenso wie Cormac MacDiamarda von Lankum und Eleanor Mylor von Percolator. Klanglich ist "Endless Rain" ein ehrgeiziges und weiträumiges Album, das sich deutlich von Flemings bisherigem Werk abhebt. Das Album enthält die bereits veröffentlichten und hochgelobten Singles "Frozen Food Centre", "Mid-Life Crisis" und "Be Strong".
Flemings Songs haben sich stets mit Ideen rund um Männlichkeit auseinandergesetzt - die traurige und verführerische Musik von Wild Beasts unterlief die akzeptierten Rollenbilder junger Männer aus dem Norden. Nun älter und weiser, nutzt "Endless Rain" diese Basis, um neues Terrain zu erkunden, tritt einen Schritt zurück, schaut tiefer und verwendet die neu gewonnenen Erfahrungen, um etwas völlig anderes zu erschaffen.

Legendary singer-songwriter Dana Gillespie, with over 70 albums to her credit in a career spanning six decades, adds a new chapter with the release of her stunning new album First Love, available on Fretsore Records. While First Love is a deeply personal album, it marks a shift for Dana who teams up with close friends Marc Almond and Tris Penna who together produced the album. Born in 1949 and raised in London in an era of unrivalled experimentation and artistic rebellion, Dana began her recording career at 15 with Pye Records. Her journey in entertainment is marked by significant milestones, including collaborations with icons such as David Bowie, Bob Dylan and Elton John. A project of refined integrity, recordings including the first single "Spent The Day In Bed" (a Morrissey song) showcase a diversity of influences that only those who have lived the experience could so masterfully convey.

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

"Back in print, on purple nebula vinyl!

While the exuberance and joy of Stovall dealt with vocalist/guitarist Nathan Hardy’s wide-eyed wonder at a world previously obscured by a strict religious upbringing and his time as a Mormon missionary – songs of innocence, if you will – Much Love details the aftermath once that awestruck amazement has been dampened by the harsh realities of life.

These, then, are songs of experience, the sound of growing pains (with the emphasis very much on the pain), on the trials and tribulations that come after the euphoria of freedom. That’s not to say that the first album was devoid of drama, because it was full of it, but the ten tracks that make up Much Love certainly traverse darker, more unstable territory by confronting the very existence and notion of life as Hardy once knew it.

Recorded and produced, like Stovall, by Travis Hill, Much Love is a more abrasive, rawer set of songs than its predecessor, more The Devil And God Are Raging Inside Me than Deja Entendu. Yes, Microwave are very much still recognizable as the same band, but at the same time these songs are a conscious evolution of their sound."

Sol Power Sound returns with an EP of two blistering (and rare) island disco cuts remixed by Bosq and the Sol Power All-Stars that will make you forget that summer has come to a close. Officially licensed from the estate of Nappy Mayers, who wrote and produced both originals, both tracks capture Nappy’s exquisite sound that dominated the Trinidadian discotheques in the late 1970s and early 1980s but never received the international acclaim they deserved.

Bosq, a long-time friend of the label, leads things off on the A-side with his fiery dance floor flip of Nadie La Fond’s “Three Way Situation.” In his classic yet understated style, Bosq adds just enough, enhancing the captivating groove, while preserving the true essence and of the original. Using both vocal and dub parts Bosq turns up the funk and transforms the tune into a blistering modern disco cut that works equally well on the beach, in a dark club, or at your favorite underground afterhours.

On B1, the Sol Power All-Stars present an extended disco dub of the 1980 Nappy Mayers tune “Let Yourself Go.” The Sol Power crew opts to work with the b-side version of the original, which bypasses the lead vocal and instead focuses on the synth-bass led groove, an unforgettable chorus, and powerful disco horns. Toss in some chopped up flute, guitars, and synth and you’ve got yourself a party. And did we mention drums and perc? Don’t miss the massive soca break that will take you straight to a carnival jam in the islands.

Alongside remastered extended 12” versions of both original vocal cuts, Trini Disco Dubs highlights the genius of Nappy Mayers, a legendary Caribbean songwriter, producer, and performer, through the lens of modern producers who are at the top of their game.

This is the forth in the massively popular Kick Four series from Good 2 Go DMR with four absolute monster Jungle Techno tracks.

Motyl is a brand new creative coming together from DYL and Moll+ and this new cassette Noc has been conceived as a soundtrack to go with a book of 'night' themed poetry and imagery. it's an immersive and evocative blend of ambience, field recordings and moody sound collages that range from serene and peaceful to much more ominous and dark.

On Maza Gusu, Mikado Koko transforms into Mother Goose, hissing Perrault's fairy tales from her native tongue in your ears. Her unsettling, regressive voice is backed up by a subtle and chilling electronic soundscape sprinkled with traditional Japanese instruments, creating a realm of sound that feels both weirdly familiar and deeply unknown. Mother Koko hurls you deep down the rabbit hole, back to your darkest childhood anguishes, before gently leading you by the hand to a joyful catharsis. As you slowly get used to its disturbing familiarity, Koko’s music feels like waking up in the pale morning light, shaky but relieved after a feverish dream.

In summer 2017 Mikado Koko started her solo career as a club music producer with the elements of Japanese traditional music. After many releases, remixes and compilations such as Seitō: In the Beginning, Woman Was the Sun (AKU1016), she now focuses on avant-garde poetry reading related to feminism and gender equality.

In partnership with Hollywood Records and Regency Enterprises, Waxwork Records is thrilled to present BARBARIAN Original Motion Picture Music by Anna Drubich. Barbarian is a 2022 American Horror film written and directed by Zach Cregger in his solo screen writing and directorial debut. The film stars Georgina Campbell, Bill Skarsgård, and Justin Long. The plot follows a woman finding out that the rental home she has reserved has been accidentally double-booked by a man, not knowing of a dark secret within the dwelling. Anna Drubich is an award-winning film composer from Moscow. Her diverse body of work includes live action features, animated features, television series, documentaries, and plays and concert halls across the world. Anna has score over 35 major film and TV projects including a co-score with Oscar-nominated composer Marco Beltrami on the Guillermo Del Toro adaptation of Scary Stories To Tell In The Dark, Netflix's hit feature Fear Street: 1994, the horror-comedy Werewolves Within, and more. Waxwork Records is proud to present BARBARIAN Original Motion Picture Music as a deluxe vinyl album featuring 180 gram "Mother's Milk & Blood" splatter colored vinyl, heavyweight gatefold jackets with matte satin coating and UV spot-gloss varnish, new artwork by Steven Reeves, and an 11"x11" art print insert!

Dies ist die erweiterte Deluxe Edition von Tom Petty & The Heartbreakers’ klassischem Album Long After
Dark aus dem Jahr 1982, mit ”You Got Lucky”, ”Straight Into Darkness” und ”Change Of Heart”. Die
Veröffentlichung ist für den 18.10. geplant und enthält 12 Bonustracks, von denen 7 bisher unveröffentlicht
sind.” Das neue Produkt ist zeitlich auf die Wiederveröffentlichung des ersten Films von Regisseur Cameron
Crowe abgestimmt, Heartbreakers’ Beach Party, ein Dokumentarfilm-Special für MTV aus dem Jahr 1983,
das seit seiner ursprünglichen Ausstrahlung nicht mehr zu sehen war (nur zweimal ausgestrahlt).

This October Jamiroquai celebrates the 30th anniversary of ‘The Return Of The Space Cowboy’. Their second album, it will be reissued as a double-LP set on 140g “moon grey” vinyl and includes Michael Gray’s Good Vibe Zone edit of ‘Space Cowboy’ - which has never been released on a physical product. The packaging has also been re-designed for this anniversary release including foil enhancement of the original cover design.

‘The Return Of The Space Cowboy’ is the follow up album to the band’s huge 1993 debut, ‘Emergency On Planet Earth’. Selling over 3 million copies globally, ‘Emergency On Planet Earth’ put the band on the map with their distinctive sound standing them apart from other popular acts of the time.

‘The Return Of The Space Cowboy’ was released just one year later and was met with great critical and public acclaim. Certified Platinum in the UK, Japan and France, it achieved chart success in multiple countries and spawned the single ‘Space Cowboy’ which remains one of their biggest tracks to date. Critically the album was lauded with Rolling Stone saying "Jamiroquai parlay jazzy soul pop so tight it crackles… Nowadays, when most funk comes out of cans, Jamiroquai's live spark glows", The Guardian said “... this second album sounds like vintage Stevie Wonder and Johnny 'Guitar' Watson, but Kay's vocals are as snappy and engaging as his extrovert persona" and Q magazine said it “combines intricate arrangements with several long, free-form workouts crammed with virtuoso performances".

For many, this album is defined by some of the most complex songwriting the band have ever produced and Jay Kay called it “one of our most creative and accomplished albums”. The process of making the album came with many challenges. Having to recruit a new drummer (after Nick Van Gelder failed to return from holiday), the band were met with second-album syndrome with Kay proclaiming since that lyrics weren’t coming "... because suddenly I wasn't homeless, I had everything I needed. So I found myself creating problems to write about." The songwriting process was complex for the band as Jay Kay was often dissatisfied with the results, leading songs to be scrapped or rewritten, but half-way through recording Kay wrote ‘Space Cowboy’, a song which reflects darker times during the recording session, and it became the catalyst of creative inspiration helping them finish the record. On this 30th anniversary edition of the album Space Cowboy gets a modern dance makeover courtesy of DJ Michael Gray, shedding new light on the track and emphasising it’s already infectious groove.

The album built on the success of ‘Emergency On Planet Earth’ and Jamiroquai have become one of the UK’s most pioneering and ground breaking bands of the past 30 years. Pushing boundaries and bringing jazz and funk to a mainstream audience, their sound is not only unique, but immediately recognisable.

Ricky Razu is one of Belgium's new breeds of rising house producers who come from a vast background of jazz, boogie, hip-hop and disco and through the amalgamation of these various styles, he is quickly making a name for himself.

Ricky's swing is quite unique, he has been putting his own twist and interpretation on the regular house track by joining the dots between yesterday’s golden era classics and today’s club bangers. As one of Houseum's mainstays, he has also built up a solid presence behind the decks, becoming a regular player in the Belgian and international house scene. During the past years, Ricky’s prolific output has also allowed his sounds to propagate all over the globe, which culminated in a worldwide repertoire of gigs from Europe to the US, South America and Asia. The man has also garnered support from the likes of Jeremy Underground, Bellaire and Subjoi, to name a few, and with his new projects in the pipeline, the future is looking bright for him.

Get transported to a parallel dimension with the title track of Ricky Razu’s new EP ‘Cosmic Waves’. This spacey yet club-oriented track blends floaty arpeggios with a dark rumbling bass. But what truly sets "Cosmic Waves" apart is its sharp and distinct lead melody, guaranteed to linger in your head long after the first listen. In Ricky’s known style, the arrangement sounds complete yet never over-loaded, resulting in a track that is effective and easy to love.

Back in print! Dead Moon's final album remastered with VERY radically improved sound and reissued here for the first time ever. 'Dead Ahead' is filled with all time great rockers and ballads. Some of the legendary band's heaviest work. The world's greatest rock band's swan song is not wasted - dark corridors are explored and conquered. Remastered from the original tapes with amazing new dynamics and the murk reduced to the noise layer it was meant to be.

Spaceheads sind das fehlende Glied zwischen Post-Punk und Dance. Zwei Jungs aus Post-Punk-Bands der 1980er Jahre machen experimentelle, tanzbare Live-Musik, die sich an den euphorischen Bläsern und Rhythmen des Afrofunks, den motorischen Grooves von Krautrock wie Neu und Can und dem spirituellen, kosmischen Jazz der späten 1960er und 1970er Jahre orientiert, mit Elementen des Dub, des aufkeimenden elektronischen Tanzes (der zu dieser Zeit rapide auf dem
Vormarsch war) und sogar des amerikanischen R&B und Funk der 1970er Jahre.

Time and Spaceheads versammelt Material aus den frühen Veröffentlichungen des britischen Duos (1990-2003) auf wegweisenden Labels wie Dark Beloved Cloud, These, Merge & anderen,
bemerkenswerterweise zum ersten Mal auf Vinyl. Die Musik der Spaceheads ist sowohl für sich selbst als auch für unser historisches Verständnis von Innovation und Experimentierfreudigkeit in der
Post-Punk- und UK-Dance-Kultur von großer Bedeutung. Jeder, der sie jemals spielen gesehen hat, wird bei der bloßen Erwähnung ihres Namens aufleuchten. Es ist an der Zeit, dass diese Musik, die
seit 20 oder 30 Jahren durch die Sterne und digitale Umgebungen schwebt, ihren eigenen Moment in der Sonne hat, hier in all ihrer Pracht sequenziert, um die vielen Möglichkeiten dieser beiden Männer
einzufangen, die bemerkenswert sind, und verpackt, um die Ehrfurcht zu reflektieren, die wir hören, wenn wir sie anhören.

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

Limited to 500 copies on gold vinyl, contains download also. A hugely influential album cited as the embryo for punk, grunge and beyond. Featuring epic 1970 concepts from this far reaching trio much praised by Underworld’s Karl Hyde, Captain Sensible, Stephen Malkmus and a host of others. ‘Thank Christ For The Bomb’ is a visionary tale of cold war fear, alienation and everyday drama. “This is a masterpiece!” NME // A thinking man’s rumination on alienation, the album is a game of two halves; side one tackling the thermo nuclear threat while side two traces riches to rags alienation in everyday London. First of a trio of ground-breaking albums that steered the band from the Blues into a heavier, more prog-based sound and a true reflection of their much-praised live sound

Círculo Cerrado presents its second album “Circular Economy”, 4 tracks that span a wide range of textures with the common denominator of atemporality.

A1. Rindeau, the Argentinian illustrator and music artist from Strain Collective, presents “Machine soul”, intelligently crafted with the best combination of electro-techno and EBM.

A2. Galdar’s breed Aniano materializes another mind-blowing track with “Encadenado a la Realidad”, a house tune with funk overtones and psychedelic undertones.

B1. Javier Carballo and Aniano aka HDZ brings a darker engine “ La Furnia ”, trailblazingfrom breaks, IDM to acid house for full voltage.

B2. Frenchman Tom Joyce, owner of Sounds Benefit label, captures in “ Good Game“ a hypnotic and minimalistic track with hints of tripping on top of 909 drums.

After the Spanish escapade 'Teatro Lucido' and the sweet journey 'Paris Hawai', the group created by Marlon Magnée and Sacha Got continues their world tour with 'Rock Machine,' their first album entirely written in English. Composed over the past few years during various tours around the world, this new LP has been strongly inspired by the succession of dates in the USA, Canada, South America, Australia, and the encounters that ensued. The band returns to its New Wave and Synthwave roots from their acclaimed first LP 'Psycho Tropical Berlin' (Machine), which they mix with an Anglo-Saxon rock sound from the 80s/90s (Rock). This album is an ode to rock'n'roll, its effectiveness, and timelessness, but also an ode to love and despair. La Femme continues to develop with Rock Machine a universe beyond trends with their own sound and aesthetics. In addition to rock and synthwave sounds (of which 'Clover Paradise' is the perfect example), there's still electro (Sweet Babe), surf music (Ciao Paris), disco with a UK punk twist (My Generation), and even elements of western. The list is long but always unique and coherent