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Compare the best of British jazz circa 1963 with American sounds from labels such as Prestige, Tangerine and World Pacific. This album captures the period when rhythm and blues is emerging as the dominant club sound, forcing Soho jazz clubs to change their music policy in order to survive. On the British side, you’ve got Ronnie Scott’s arrangement of Last Minute Bossa Nova; Bang!, taken from Dick Morrissey Quartet’s first session for the BBC’s World Service, recorded around the time of the release of their first album Have You Heard? The version here is take two. You can hear take one along with the rest of the eleven-track session on R&B18 Jazz For Moderns.
Early In The Morning is a Ginger Baker/Jack Bruce arrangement of the traditional work song realized as a repeated blues riff, and is the first ever recording that is recognizably British Blues. Graham Bond features on alto sax along with Bruce and Baker together as members of the Johnny Burch Octet heard playing live at a BBC staff party from March 1963. Side Two features Jazz Stateside, such as West Coast guitarist Johnny Hartsman, Gene Ammons veering into proto jazz-funk on Jungle Soul, aka Ca' Purange plus a couple of top notch Hammond workouts from Terrell Prude and Charles Kynard.

Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Normil Hawaiians, Glaxo Babies, Playgroup, C Cat Trance, Suns of Arqa & Prince Far I and many more.

Tracklist Side A:
Normil Hawaiians - Obedience
Vee VV - Keep Beat
Spit Like A Paint - For The Life Of Me
Group Therapy - Arty-Fact
C Cat Trance - Hypnotised

Tracklist Side B:
The Chicken Granny - Quit The Body
Machine Gunn Hogg And Co - Bed Bound Saga
Playgroup - Hoggs Might Fly
Glaxo Babies - Shake (The Foundations)
Suns of Arqa feat. Prince Far I - G.D. Magik

Amore Libero – Free Love marks the first film score composed by Fabio Frizzi, written in 1974 for the movie of the same name directed by Pier Ludovico Pavoni. Set against the exotic backdrop of the Seychelles, the film tells the story of Simo, a free-spirited young woman played by Laura Gemser in her cinematic debut, blending sensuality and the spirit of liberation so typical of the 1970s.

Frizzi’s score perfectly captures the film’s atmosphere, weaving together evocative melodies, funky grooves, and progressive textures — an elegant, psychedelic soundscape that reflects both the tropical setting and the film’s themes of freedom and desire. The recording features the Goblin in their classic line-up: Fabio Pignatelli (bass), Massimo Morante (guitar), Walter Martino (drums), and Claudio Simonetti (keyboards), with Vince Tempera handling arrangements and orchestral direction.

Long regarded as a true holy grail for collectors, now, for the first time ever, it is officially reissued on vinyl, bringing back to light a fundamental chapter in Italian film music and progressive sound. An essential record that merges Frizzi’s melodic genius with the visionary energy of the Goblin, Amore Libero – Free Love stands as a timeless document of an extraordinary era in Italian cinema and its music.

A Record Store Day 2026 exclusive / Pearly light blue vinyl edition / 30x30cm insert with extensive liner notes

ORDH's debut, "Blind In Abyssal Realms", sets out to redefine what the term 'progressive death metal' truly means. But before ORDH, there was BARISHI. When their bass player threw in the towel to pursue other interests in life, guitarist and vocalist Graham Brooks, "looking for a fresh start", decided the time had come to finally dwell in his favorite genre: death metal. But not just any kind of death metal_ Having drafted BARISHI drummer Dylan Blake, with whom Graham has been playing since he was twelve years old, and Josh Smith from KIEFCATCHER on bass, the trio then spent a few gruelling years working on their debut, with Graham writing most of the music and ironing the songs out with Dylan and Josh. Having toured with COME TO GRIEF when BARISHI was still around, Graham and the latter's singer Jonathan Hébert had hit it off really well, so when the time came to find a vocalist, Jonathan was called upon, "right on time to jump straight into the recording and writing process, as most of the music was ready to go".

Grounded in a season of life that has been earned rather than borrowed, Benjamin Tod speaks with the ease of someone no longer running from himself. There is joy now - a steadiness that comes from commitment. With the recent arrival of his son and a deep well of new music on the horizon, Tod is firmly rooted in both purpose and possibility. That clarity is evident in Vengeance and Grace, the Lost Dog Street Band frontman's forthcoming and most expansive solo album to date. Conceived as a "dual-version" release, the project presents two parallel worlds: (Alone) is a stripped solo-acoustic version, along with its full band counterpart.

Together, the two versions form the full range of what Tod is capable of: restraint on one side, force on the other. At the core of Tod's writing is a simple conviction: music should serve something larger than the moment. His writing speaks to mind, body, and soul, shaped by faith, discipline, and a hard-earned understanding of consequence. The darkness that once defined him is neither denied nor indulged. It is understood and no longer in control. Today, Tod moves with a sense of calm that wasn't always there. He is grateful, settled, and intentional, continuing to follow the compass that's guided him from the beginning. Rooted in traditional country and folk, his work stands firmly in the modern music landscape, shaped by experience, restraint, and the life he's built around it.

Un Canto por México, Vol. 1 is the eighth studio album by Natalia Lafourcade. The album was part of a project destined for the reconstruction of the Centro de Documentatión del Son Jarocho at Jáltipan de Morelos, a cultural building that was damaged after 2017 Puebla earthquake on 19 September 2017.

The album was a great success and gave Lafourcade three Latin Grammy Awards and the album also won the Best Regional Mexican Music Album at the 63rd Annual Grammy Awards.

Un Canto por México, Vol. 1 is available as a limited edition of 2000 individually numbered copies on yellow vinyl, packaged in a gatefold sleeve, with printed inner sleeves

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone. Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death.

This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

Uncompromising Dutch Black Metal – DOODSWENS’ sophomore album out in April via Svart Records Doodswens is a Dutch Black Metal band formed in 2017 by I. Live she performs the drums and vocals, joined by R. & P. on bass and guitar. Doodswens translates to Deathwish, but the meaning and heavy load to the word in Dutch translates better to Driven by Death. The self-titled sophomore album by Doodswens is out on April 17th 2026.

After establishing themselves in the Dutch scene, Doodswens gained an international following doing tours with Marduk & Gorgoroth. Doodswens’ performances are ceremonial and ritualistic, which have been reported to be as uplifting as they are devastating, depending on the demons you bring them to offer. Whatever you carry with you will be exposed. They like to confront instead of bringing comfort. If you've been on the verge of ending your life, or think about it more often than not, then you're living with a death wish. A heavy feeling, like a gray cloud hovering around you, gasping for breath and blurring your vision. This is incomprehensible to anyone.

Except for those caught in the middle of it. But this album isn't about giving up. It's about finding strength, about someone who regains new energy after facing death. This album isn't about wishing for death, but the death of the wish. Band’s establisher I. talks about the new single "Driven by Death": “For me, it was on the way back from a spontaneous adventure, full of music, new connections, and inspiration. A path without a plan and a journey without a goal, with only a very strong feeling that this is where I'm meant to be. With a misty horizon of endless asphalt before me. A large tree at the edge of the road, in the corner of my eye, screaming that this could just be the end. But what I felt wasn't fear, it was happiness. With the thought that if I crash into that tree now, I won't care at all. Because up until this moment, I've done everything possible, experienced every adventure, and each time, gotten up again and faced life with that gray cloud around my head. I have a death wish, so if it happens now, it's okay, and I'm at peace with it. This was the moment I realized, I'm not afraid of life. I'm driven by death.”

Un Canto por México, Vol. 1 is the eighth studio album by Natalia Lafourcade. The album was part of a project destined for the reconstruction of the Centro de Documentatión del Son Jarocho at Jáltipan de Morelos, a cultural building that was damaged after 2017 Puebla earthquake on 19 September 2017.

The album was a great success and gave Lafourcade three Latin Grammy Awards and the album also won the Best Regional Mexican Music Album at the 63rd Annual Grammy Awards.

Un Canto por México, Vol. 1 is available as a limited edition of 2000 individually numbered copies on yellow vinyl, packaged in a gatefold sleeve, with printed inner sleeves

Delusions Of Grandeur is proud to welcome back emerging producer, multi-instrumentalist, and vocalist Declan McDermott for his standout new EP, Why Don’t You Believe Me? Blending analogue hardware and live musicianship with deep, groove-driven production, the release showcases a confident and colourful voice in contemporary underground house. I:Cube & DJ Nature on remix duties!

Petter Eldh's explosive ensemble Koma Saxo continues their adventures with a new album "Koma West", out on We Jazz Records, 18 March 2022. The album sees Koma Saxo expand on their previous sound with the addition of vocalist Sofia Jernberg and a strong cast of featured artists, including cellist Lucy Railton, violinist Maria Reich, pianist Kit Downes and accordionist Kiki Eldh (Petter's mom!). The hard-hitting key quintet remains, including Eldh on bass and assorted instruments, Christian Lillinger on drums, plus saxophonists Otis Sandsjö (of Y-OTIS), Jonas Kullhammar and Mikko Innanen bringing the SAXO to the KOMA operation.

At 14 tracks, "Koma West" is a full menu of monumental compositional ideas that could spawn entire albums. True to his chop & go production style, Eldh relies on continuous movement while presenting another all killer no filler program taking Koma Saxo on a sonic outing not quite like anything that had previously appeared under the band's name. That being said, there's very much the Petter Eldh touch here, one which might be hard to pinpoint and verbalise, but nevertheless a recognisable style of composing, producing and arranging.

Thematically, the album is rooted in the West Coast of Sweden, where Eldh grew up – he's from a tiny town called Lysekil. There's a thread of Swedish folk song tradition that has been part of the Koma Saxo DNA from the get-go and you can hear that here as well, especially on cuts such as "Närhet", beautifully sung by Sofia Jernberg.

Petter Eldh says:

"In a way, it's a concept album and a celebration of the Swedish West Coast. The first single is called 'Koma Kaprifol', and kaprifol is the landscape flower of Bohuslän on the West coast, where I grew up. I'm not too wild about attaching strong narratives to my music but there's no way around it this time. The oysters, a common snack around the coast, are a strong conceptual presence here. Anyway, they seem to pop up here and there quite often already thus far in the Koma Saxo narrative, even though it's not always so obvious. Koma Vocals! Koma Strings! I love the presence of Sofia Jernberg here and I love writing string arrangements, too, although I never thought I would do it for Koma, but of course, Koma should have some strings, why not?. Koma Saxo should and can become anything."

Niagara return to Discrepant with Buxtehude, a new work bending the legacy of Dietrich Buxtehude into their own fractured, electro-organic language.

Rather than a tribute, Buxtehude feels like an abstract dialogue with the Baroque composer’s sense of structure and flow—reimagined through Niagara’s raw synth work, off-grid rhythms and subtly warped melodic cycles. The trio let the music grow from the inside out: patterns expand and contract, harmonies tilt slightly off their axis, and small details accumulate until each piece reveals its own internal gravity.

There’s a clarity to Buxtehude that feels carved rather than composed. Tracks move with a quiet insistence, like mechanical organisms finding coherence through repetition and drift. Melodic fragments surface briefly, disappear, then return transformed, lending the album a strange balance between austerity and warmth.

With Buxtehude, Niagara continue to refine their unmistakable approach—playful yet rigorous, minimal yet full of life— remaining entirely their own.

One of the longest standing figures amidst the Discrepant wolfpack, the unstoppable alias of sound collector Laurent Jeanneau returns to the fold 2 years after 'Tanzania II' with this 2.0 update of the celebrated 'The Lisu' sort-of-mixtape released way back in 2014.

Based on recordings of music from the Lisu communities in China and Thailand captured on site, this mix shows Gong more like a selector or dj, restricting electronic processing to a bare minimum in order to convey different histories, places and timeframes within the same mesmerising continuum. A respectful and deeply vivid evocation of all the richness and diversity found among the different strands of lisu music, from ceremonial vocal incantations through a chibeu string instrument "processed" in loco through saturated street speakers to moments of pure poetic radiance, 'The Lisu' flows gracefully with the keen sense of wonder and knowledge of one of this century's most thoughtful and insightful sonic travellers.

Robert Pettersson, die kraftvolle Stimme hinter zwei der größten schwedischen Rockbands, Takida und Stiftelsen, tritt nun mit seinem ersten Soloalbum ins Rampenlicht. Bekannt für seine rohe Emotion und seinen unverwechselbaren Sound, hat Robert mehr als zwei Jahrzehnte damit verbracht, Charts anzuführen, Arenen auszuverkaufen und den modernen schwedischen Rock zu prägen. Sein Solodebüt zeigt eine persönlichere Seite und verbindet tiefgehende Texte mit elektronischen Klangwelten. Produziert wurde das Album von Roberts langjährigem Songwriting-Partner Chris Rehn. So habt ihr Robert Pettersson noch nie gehört - intim, mutig und unverkennbar authentisch.

Black Salt is the second album from Kiiōtō (Mercury Music Prize nominated singer/songwriter Lou Rhodes, former lead vocalist and co-founder of Lamb and award-winning songwriter and pianist Rohan Heath). Their debut album, As Dust We Rise, was released in 2024 to critical acclaim.


Stylistically Black Salt leans further into Jazz, broken beat and soul textures than the debut,with references as diverse as Carole King, Khruangbin and Alice Coltrane. The resulting album is impossible to define by genre, but is fused by the unique interplay of Heath's melodic sensibilities and Rhodes inimitable voice.

Written primarily in Kiiōtō's home studio in North London, Black Salt features guest appearances from a melting pot of musicians, notably guitarist Hawi Gondwe (Amy Winehouse), double-bassist Andy Hamill (4 Hero, Carleen Anderson), drummer Mykey Wilson (Corrine Bailey Rae), and even some impromptu guitar by the one and only David Arnold.


BLACK SALT is out April 2026.

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus.

Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trancelike spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album.

Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band’s fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release’s inner panels.

That’s My Story“ ist das 1960 erschienene Album der Blues-Ikone John Lee Hooker, das ursprünglich bei
Riverside Records veröffentlicht wurde. Das Album zeichnet sich durch einen für einen Country-BluesSound rohen, reduzierten Ansatz aus. Hooker spielt Akustikgitarre in Titeln wie „I Need Some Money“
und „No More Doggin’“, um eine fesselnde Sammlung zu schaffen, die sein Können gekonnt zur Geltung
bringt. Diese Ausgabe wurde bei QRP auf 180-Gramm-Vinyl gepresst und von Matthew Lutthans bei The
Mastering Lab von den Originalbändern remastert (AAA).

Limited Edition Re-Release incl. 10" EP

Eines der besten Metal-Alben des Jahres 2025 wird 2026 als exklusive Metal Hammer Picture Disc geehrt. Klasse Artwork, einmal "The Rat Queen" aka Band-Chefin Riley Pinkerton, einmal die gesamte Band plus Logos und Tracklist. Das Fantasy-Mittelalter-Metal-Phänomen CASTLE RAT präsentiert sein zweites Album! Castle Rat ist die NY Fantasy-Heavy-Metal-Band, die von der Rat Queen angeführt wird, welche die Mission verfolgt, ihr Refugium gegen diejenigen zu verteidigen, die es zerstören wollen. Ihr zur Seite stehen The Count, The Plague Doctor und The All-Seeing Druid. Gemeinsam stellen sie sich mit Heavy Magie dem unerbittlichen Zorn ihrer Erzfeindin - dem Tod in Form von The Rat Reaperess. The Bestiary ist ein riffgeladenes Kompendium mystischer Kreaturen und vorwarnender Erzählungen aus einer vergessenen Welt. Es erzählt 13 allegorische Geschichten von mythischen Bestien und dem Zauberer, der sie beschwört, und verwebt kraftvolle Heavy-Hymnen und dunkle Verzückungen zu einer betörenden und unvergesslichen Heavy-Metal-Odyssee. Als ob Grace Slick mit Black Sabbath ca. 1200 A.D. auf einem Kiss-Konzert Liebe macht. Aufgenommen von Randall Dunn (Sunn O))), Wolves in the Throne Room, Björk) und gemischt von Jonathan Nuñez (Torche, Restless Spirit), bietet das Album episches Heavy-Gemetzel und doomy Hard Rock. Hervorgegangen aus New Yorks abscheulichem, kreaturenverseuchtem Untergrund, schlugen die Fantasy-Heavy-Metaller zunächst mit ihren Live-Auftritten und später mit ihrem Debütalbum "Into The Realm" im Jahr 2024 große Wellen. Seit ihrer Gründung im Jahr 2019 haben CASTLE RAT ein lebendiges Labyrinth aus Erzählungen und Mythen geschaffen, welches sie nun rund um die Welt führt. Die MH Picture Disc kommt in durchsichtiger, halbfester PVC-Hülle mit Lasche (semi-rigid transparent PVC sleeve with flap), ansonsten auch noch auf CD (aufklappbares Digipak), MC (mit gefaltetem Inlay) und auf LP (farbiges Vinyl, inklusive ausklappbarem Lyrics-Insert)!

Geboren im Sommer '96/'97 - dem Jahr des Höllenschweins - brannten Mustang als soziales Experiment aus der Innenstadt Tasmaniens heraus. Sie kamen mit ziemlich viel davon, andere hätten für weniger wohl nicht mehr gleich ausgesehen.Sie sauf-ten, machten Sachen kaputt und brachten dieses Chaos in das Schreiben von Banger-Songs - während sie sich bei den ,Proben" XXX Ales reinzogen und bei sehr wichtigen ,Bandmeetings" Protokolle führten.Mustang schütteten Benzin über ihre tasmanische Ödnis, bevor sie 7,69 Millionen Quadratkilometer Landmasse der Erde in sich aufsogen und dort ,dominierten", auf die einzige Art, die sie kannten: laut, wütend und zu ihren eigenen Bedingungen - und nahmen dabei Horden williger Partygänger mit auf die Reise.Über drei Non-Studio-Alben und eine Handvoll kleiner Veröffentlichungen hinweg bauten Mustang einen Katalog auf, der von Bier, Speed und störrischer Unabhängigkeit geprägt war. Kein Glanz. Kein Trendgehechel. Kein Buckeln vor dem Mann. Sie ritten ein, tranken, was da war, und hinterließen klingelnde Köpfe.Cut Up Rough (2015) war ihr Schwanengesang - geboren in einer Heuscheune am ausgefransten Rand von Tasmaniens Rock-Hochburg. Aufgenommen über zwei schlaflose, bierselige Tage wurde das Album mit improvisierten Drum-Takes, aufgedrehten Gitarren und purem Instinkt in die Existenz gerissen. Die Band lebte während der Aufnahmen buchstäblich in der Scheune - schiss ins Gras, schlief zwischen leeren Dosen, und ließ Isolation und Absurdität direkt in billige Mikrofone bluten.

Eines der besten Metal-Alben des Jahres 2025 erhält eine hochwertige Zoetrope Vinylversion. Ein farbenfroh animiertes, detailreiches Sammlerstück für Musikliebhaber. Das Fantasy-Mittelalter-Metal-Phänomen CASTLE RAT präsentiert sein zweites Album! Castle Rat ist die NY Fantasy-Heavy-Metal-Band, die von der Rat Queen angeführt wird, welche die Mission verfolgt, ihr Refugium gegen diejenigen zu verteidigen, die es zerstören wollen. Ihr zur Seite stehen The Count, The Plague Doctor und The All-Seeing Druid. Gemeinsam stellen sie sich mit Heavy Magie dem unerbittlichen Zorn ihrer Erzfeindin - dem Tod in Form von The Rat Reaperess. The Bestiary ist ein riffgeladenes Kompendium mystischer Kreaturen und vorwarnender Erzählungen aus einer vergessenen Welt. Es erzählt 13 allegorische Geschichten von mythischen Bestien und dem Zauberer, der sie beschwört, und verwebt kraftvolle Heavy-Hymnen und dunkle Verzückungen zu einer betörenden und unvergesslichen Heavy-Metal-Odyssee. Als ob Grace Slick mit Black Sabbath ca. 1200 A.D. auf einem Kiss-Konzert Liebe macht. Aufgenommen von Randall Dunn (Sunn O))), Wolves in the Throne Room, Björk) und gemischt von Jonathan Nuñez (Torche, Restless Spirit), bietet das Album episches Heavy-Gemetzel und doomy Hard Rock. Hervorgegangen aus New Yorks abscheulichem, kreaturenverseuchtem Untergrund, schlugen die Fantasy-Heavy-Metaller zunächst mit ihren Live-Auftritten und später mit ihrem Debütalbum "Into The Realm" im Jahr 2024 große Wellen. Seit ihrer Gründung im Jahr 2019 haben CASTLE RAT ein lebendiges Labyrinth aus Erzählungen und Mythen geschaffen, welches sie nun rund um die Welt führt. Zoetrope-Vinyl kommt in durchsichtiger, halbfester PVC-Hülle mit Lasche (semi-rigid transparent PVC sleeve with flap),auch noch auf CD (aufklappbares Digipak), MC (mit gefaltetem Inlay) und auf LP (farbiges Vinyl, inklusive ausklappbarem Lyrics-Insert) erhältlich.

Wer verbirgt sich hinter der Maske des roten Piraten? Und warum bedroht er Justus, Peter und Bob? Was steckt hinter den Tonbandinterviews von Major Karnes? Und wonach gräbt dieser heimlich in der Piratenbucht? Trotz aller Gefahren lassen die drei ??? nicht locker, bis sie das Rätsel um den legendären Piratenschatz gelöst haben - einen Schatz, der allerhand Geheimnisse birgt!

Intense and intensely personal, The Dead Ones marks The Last Ten Seconds of Life’s Metal Blade label debut. 10 original tracks of pulverizing deathcore produced by Carson Slovak and Grant McFarland of Pennsylvania’s Atrium Audio. In creating The Dead Ones, “everyone took what we learned from the past two releases and assembled what we thought would bring out the best of us from song structure, tonality of instruments, the mix/master, and the lyrical themes,” furthers McLaughlin.

The end result reflects a more personal and human experience rather than the philosophical and fictional approach used on earlier releases. The Dead Ones follows 2024’s acclaimed No Name Graves in the theme of death and rebirth, but in contrast, is directly focused on the human experience and the band members’ own struggles.

Leading outlet for forward-thinking Scandinavian jazz, April Records, proudly presents the new album from Malmö-based quintet People In Orbit. A followup to their critically acclaimed 2023 release Close/Away (Naxos Prophone), the group continues to explore Scandinavia"s jazz tradition through a contemporary lens, blending acoustic interplay with electronics and a focus on collective improvisation. Led by trumpeter and composer Adam Sass, People In Orbit were formed in late 2020 with the intention of reimagining the classic jazz quintet with a contemporary edge. The group prioritises space, interaction, and ensemble balance, allowing composed material and collective responsiveness to shape the music. Alongside Sass, the band features Edvin Ekman (tenor saxophone, effects), Niklas Bergström (piano, Moog, keyboards), Edvin Elmersson (double bass), and Frank William Reis (drums). Viewpoint is a concept-driven album centred on perspective; how different viewpoints influence the way events are interpreted, and how perspective can foster connection or distance. Much of the album is built around Cycles, a four-part suite composed from a graphic score, with each section representing a different human life and its relationship to the surrounding world. The album moves through shifting emotional and psychological states, from curiosity and tension to reflection and release. Perspective is explored not only through human experience, but also via non-human viewpoints - including music inspired by deep-ocean communication between whales and slow, drifting motion. Musically, Viewpoint continues People In Orbit"s blend of modern jazz-rock and electronics, while drawing influence from the Scandinavian jazz quintet tradition of the 1960s. The music balances structured composition with openness, allowing individual voices to exist within a clearly defined collective sound. With Viewpoint, People In Orbit presents a focused and cohesive statement - an album shaped by shared intent, conceptual clarity, and a continued commitment to collective expression.

Reissue of the essential album by Granada's TNT. "Manifiesto Guernika" is an essential piece of Spanish punk & post-punk history, originally released in 1983 by the legendary DRO label. One of the pillars and most important records of Spanish punk, "Manifiesto Guernika" remains a fresh, powerful and intense classic of the genre. An exciting mix of '77 punk, post-punk and "Combat Rock"-era Clash with smart and profound lyrics that elevated them to cult status. Original artwork & insert and extra fold out insert.

Im Mai 2026 würde Miles Davis seinen 100. Geburtstag feiern. Einen Monat vorher gratuliert ihm bereits
Decca Frankreich mit der LP-Wiederveröffentlichung eines besonderen Albums innerhalb seines Schaffens.
Auf “Michel Legrand meets Miles Davis” treffen ein amerikanisches und ein europäisches Musik-Genie
aufeinander. Zum Jubiläum erscheint das ursprünglich als ”Legrand Jazz“ veröffentlichte Album aufwändig
remastert als 140g-LP im neuen Artwork mit Foto beider Künstler.
1958 war Legrand erstmals in die USA gereist und hatte dort die größten Stars des Jazz zusammengetrommelt: neben Miles Davis waren das John Coltrane, Phil Woods, Bill Evans, Ben Webster, Art Farmer,
Donald Byrd u.v.a. “Legrand Jazz“ präsentierte einige der größten Jazzklassiker aller Zeiten in fantastischen Legrand-Arrangements, gespielt von der damaligen Crème de la Crème des Jazz.
Speziell die Zusammenarbeit von Michel Legrand und Miles Davis auf vier Tracks des Albums gilt als
historisch, da sie kurz vor den Aufnahmen zu Davis’ Meisterwerk ”Kind of Blue“ (1959) stattfand und
bereits die harmonische Tiefe und den orchestralen Ansatz vorwegnahm, den Davis später weiter verfolgte

Das 2013 mit einem Grammy Award ausgezeichnete Album Same Trailer Different Park von Kacey Musgraves erscheint erstmals international auf 180-Gramm-Vinyl.

3LP limited deluxe edition of Beastie Boys’ platinum-selling 2004 To the 5 Boroughs album, featuring 11 bonus tracks, including remixes and B-sides., pressed on 180-gram vinyl and housed in a triple gatefold jacket with pop-up elements and an NYC map lithograph, inside a rigid slipcase.

Das Solo-Akustikalbum von Lightnin’ Hopkins aus dem Jahr 1961 zeigt den legendären Musiker in Höchstform. Mit Hopkins’ Gitarrenspiel und Gesang rückt Blues in My Bottle seine Blues-Meisterschaft ins
Rampenlicht. Das Album enthält Hopkins’ Interpretationen von Originalen, traditionellen Standards und
Coverversionen. Diese Ausgabe wurde bei QRP auf 180-Gramm-Vinyl gepresst und wurde von Matthew
Lutthans bei The Mastering Lab von den Originalbändern remastert (AAA).

Carnival Diablos is an album of red-blooded metal that connected Annihilator’s legacy to their present-day and re-established Jeff Waters’ place in the thrash pantheon. From the frenzied call-and-response of album opener ‘Denied’ to the progressively-edged mid-tempo sway of the title track, Carnival Diablos is a wholly satisfying offering of steak and potatoes heavy metal thrash – more heavy metal, less thrash, but 100% Annihilator at one of their many peaks.

GENERATION RADIO return with "Take Two", the eagerly awaited follow-up to their acclaimed debut, delivering another masterclass in AOR/West Coast rock infused with just the right touch of the Nashville sound. Produced by founding members Jay DeMarcus (Rascal Flatts) and Jason Scheff (former Chicago), the band features an all-star lineup: Steve Ferrone (Tom Petty & the Heartbreakers, Average White Band) joins on drums, replacing the formidable Deen Castronovo (who returned to Journey as full-time member), while Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) round up the powerhouse ensemble. “Take Two” is rich with pristine harmonies, unforgettable hooks, and timeless songwriting—hallmarks of the genre delivered with class and authenticity.

Tracks like the widescreen, harmony-laden “Montana Sky,” the hook-filled “The Melody,” and the emotionally charged ballad “Hate This Heart” showcase the band’s signature blend of melodic precision and heartfelt performance. Adding depth to the album’s appeal, Generation Radio also offers reimagined versions of timeless classics that shine in their live sets: Whitesnake’s “Here I Go Again,” Chicago’s “You’re the Inspiration,” Kenny Loggins’ “I’m Alright,” and a rock version of Rascal Flatts’ classic “These Days.” With "Take Two," Generation Radio not only honors the legacy of AOR and West Coast rock—they elevate it, combining elite musicianship and genre-crossing influences into a record that’s as fresh as it is nostalgic.

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

April Records proudly presents the new album from Danish trombonist and composer Lis Wessberg. Her most personal album to date, In The Wake of Blue is a song-driven work exploring transience, love, and transformation. Expanding her writing while remaining rooted in her distinctive instrumental voice, Wessberg creates an intimate musical landscape where lyric, melody, and texture carry equal weight. Wessberg has established herself as a leading voice on the European jazz scene through her band Yellow Map and a series of acclaimed releases on April Records. Her previous album, Twain Walking (2024), marked her first step into English-language songwriting and earned a Danish Music Award nomination in 2025 for the track Behind the Walls. In The Wake of Blue develops this direction further. The album draws on images from nature - sea, tides, clouds, mist, and birds - used as emotional anchors rather than abstractions. These elements frame songs that move from uncertainty and loss toward openness, connection, and renewal. The title reflects this arc: "blue" as melancholy, depth, and memory, and what emerges in its wake. Vocalist Veronika Rud is central to the album"s sound, bringing vulnerability and clarity to the songs. Rather than a traditional singer-led project, the music unfolds as a dialogue between voice and trombone, with Wessberg"s warm, airy tone mirroring and extending each song"s emotional core. At times the two move in close unison; elsewhere, they diverge and reconnect. The core ensemble - Steen Rasmussen (piano and keys), Lennart Ginman (bass), and Jeppe Gram (drums) - provides a responsive, understated foundation, while string quartet Live Strings appear on two tracks, expanding the ensemble"s depth and resonce. In The Wake of Blue offers a quietly assured statement from an artist continuing to refine a voice that speaks as clearly through brass as it does through words.

Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz Böttner, and Mike Lewis. On 28 April 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art.

Owing to its exploratory electric sound world and Plank’s distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation.

Shortly after the studio session, Ranta and Böttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo ’70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances.

The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and Böttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously recorded studio material, retaining the distinctive “Wired” sound while situating it within a live, site-specific context.

Michael Ranta: percussion, voice, home-made instruments, tapes, tape delay, effects Karl-Heinz Böttner: guitar, organ, ocarina, voice, effects

"Weejuns is all about interplay,"erklärt Gitarristin Mollestad. ,Bitches Blues besteht aus sechs Instrumentalstücken oder Musikabschnitten mit einer extremen Bandbreite an Dynamik. Einige basieren auf kräftigen Beats, während andere Stücke weitaus lyrischer und rubato sind. Die Bandbreite reicht von riffbasierten rockigen Stücken über lautes Chaos bis hin zu melancholischen Balladen und sogar völlig freien Improvisationen." Mit einem kultivierten und dennoch erfrischend instinktiven Ansatz, Instrumente und Einflüsse miteinander zu verflechten, wechselt Bitches Blues (ein ironischer Verweis auf Miles Davis' Album Bitches Brew) unvorhersehbar zwischen langsamen und sanften, klar gegliederten Songs mit disziplinierten Akkordfolgen und explosiven Ausbrüchen kathartischer und komplexer Strukturen. Weejuns (eine Slang-Abkürzung für ,Norwegians") stellten sich 2023 mit einem selbstbetitelten Doppel-Live-Album vor. Ursprünglich von Mollestad für das Kongsberg Jazz Festival zusammengestellt, wo sie mit dem renommierten Musicians Prize ausgezeichnet wurde, hat sich die Chemie innerhalb von Weejuns als dauerhaft und verlockend erwiesen, auch als Gegenpol zum bisher härtesten Album des Hedvig Mollestad Trios, Bees in the Bonnet aus dem Jahr 2025. Mollestad hat mit ihrem gleichnamigen Trio acht gefeierte Alben veröffentlicht. Das Markenzeichen ihrer 15-jährigen Karriere ist die Verschmelzung von ernsthaftem Können mit einem offensichtlichen Fokus darauf, Spaß am Klang zu finden. Als Tochter eines Jazzmusikers vertiefte sie sich in dessen Plattensammlung und studierte klassische Werke von Miles Davis, Charlie Parker, Joe Pass und Jim Hall, bevor sie in ihren 20ern Riff-gewaltige Titanen wie Led Zeppelin, Black Sabbath und Mahavishnu Orchestra entdeckte. Dies führte zur Gründung des Hedvig Mollestad Trios, dessen unermüdlicher Aufnahme- und Tourneeplan seit Anfang der 2010er Jahre der Gitarristin eine Reihe von Auszeichnungen einbrachte, darunter zwei norwegische Grammys (Spellemannprisen) und die Ernennung durch das DownBeat-Magazin zu einer der 25 Künstlerinnen, die ,den Jazz für Jahrzehnte prägen könnten". Ståle Storlokken (Bass, Synths) ist Gründer und langjähriges Mitglied von Supersilent und Elephant9, seit Mitte der 90er Jahre die ,rechte Hand" von Terje Rypdal und hat mit Motorpsycho auf Platte und auf der Bühne sowie mit unzähligen anderen zusammengearbeitet. Ole Mofjell (Drums) ist das jüngste Mitglied und spielt bei Krokofant, Signe Emmeluths Amoeba und seinem eigenen Free-Jazz-Trio 3 Days Of Maceration.

"Weejuns is all about interplay,"erklärt Gitarristin Mollestad. ,Bitches Blues besteht aus sechs Instrumentalstücken oder Musikabschnitten mit einer extremen Bandbreite an Dynamik. Einige basieren auf kräftigen Beats, während andere Stücke weitaus lyrischer und rubato sind. Die Bandbreite reicht von riffbasierten rockigen Stücken über lautes Chaos bis hin zu melancholischen Balladen und sogar völlig freien Improvisationen." Mit einem kultivierten und dennoch erfrischend instinktiven Ansatz, Instrumente und Einflüsse miteinander zu verflechten, wechselt Bitches Blues (ein ironischer Verweis auf Miles Davis' Album Bitches Brew) unvorhersehbar zwischen langsamen und sanften, klar gegliederten Songs mit disziplinierten Akkordfolgen und explosiven Ausbrüchen kathartischer und komplexer Strukturen. Weejuns (eine Slang-Abkürzung für ,Norwegians") stellten sich 2023 mit einem selbstbetitelten Doppel-Live-Album vor. Ursprünglich von Mollestad für das Kongsberg Jazz Festival zusammengestellt, wo sie mit dem renommierten Musicians Prize ausgezeichnet wurde, hat sich die Chemie innerhalb von Weejuns als dauerhaft und verlockend erwiesen, auch als Gegenpol zum bisher härtesten Album des Hedvig Mollestad Trios, Bees in the Bonnet aus dem Jahr 2025. Mollestad hat mit ihrem gleichnamigen Trio acht gefeierte Alben veröffentlicht. Das Markenzeichen ihrer 15-jährigen Karriere ist die Verschmelzung von ernsthaftem Können mit einem offensichtlichen Fokus darauf, Spaß am Klang zu finden. Als Tochter eines Jazzmusikers vertiefte sie sich in dessen Plattensammlung und studierte klassische Werke von Miles Davis, Charlie Parker, Joe Pass und Jim Hall, bevor sie in ihren 20ern Riff-gewaltige Titanen wie Led Zeppelin, Black Sabbath und Mahavishnu Orchestra entdeckte. Dies führte zur Gründung des Hedvig Mollestad Trios, dessen unermüdlicher Aufnahme- und Tourneeplan seit Anfang der 2010er Jahre der Gitarristin eine Reihe von Auszeichnungen einbrachte, darunter zwei norwegische Grammys (Spellemannprisen) und die Ernennung durch das DownBeat-Magazin zu einer der 25 Künstlerinnen, die ,den Jazz für Jahrzehnte prägen könnten". Ståle Storlokken (Bass, Synths) ist Gründer und langjähriges Mitglied von Supersilent und Elephant9, seit Mitte der 90er Jahre die ,rechte Hand" von Terje Rypdal und hat mit Motorpsycho auf Platte und auf der Bühne sowie mit unzähligen anderen zusammengearbeitet. Ole Mofjell (Drums) ist das jüngste Mitglied und spielt bei Krokofant, Signe Emmeluths Amoeba und seinem eigenen Free-Jazz-Trio 3 Days Of Maceration.