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In einer Welt voller Lärm und Chaos bietet Harlans Musik eine Rückkehr zur Ruhe. ,Music for Stillness" entfaltet sich langsam und lädt zur Erholung und stillen Präsenz ein. Die Bansuri-Flöte gibt den Ton an; ihr gefühlvoller, gesanglicher Klang webt eine Melodie über Cello und ambienten Klangerlebnissen. Beeinflusst von indischer klassischer Musik, japanischer Kanky Ongaku und westlicher Ambient-Musik lässt das Album dem Zuhörer Raum, selbst zu entscheiden, wie tief er sich darauf einlassen möchte. Die Musik wirft eine einzige Frage auf: Wie könnte Frieden klingen?

Zuhause ist kein fester Ort. Es ist ein sich wandelnder Begriff, der in der Geborgenheit des Mutterleibs beginnt und sich dann in die Sicherheit der elterlichen Arme verlagert. In der Kindheit erweitert er sich auf Klassenzimmer und Freundschaften. Im frühen Erwachsenenalter entdecken wir unsere Unabhängigkeit und fangen an, Räume zu schaffen, die nur uns selbst gehören. Bei der Vorstellung eines ,Zuhauses für immer" geht es weniger um Beständigkeit als vielmehr um einen Rückzugsort. Dort fallen alle Masken ab, und wir finden zu unserem wahren Selbst. HOME ist ein Album, das auf der einzigartigen Chemie zwischen den Outer-World-Mitgliedern Kenneth Close (Positive No) und Tracy Wilson (Dahlia Seed, Ringfinger, Positive No) basiert - eine farbenprächtige Liebessprache, die synthetische Klänge und Samples mit Schlagzeug, Gitarre, Bass, Keyboards und Gesang überlagert und so die Grenze zwischen moderner Technologie, einer gemeinsamen Geschichte und einer einheitlichen emotionalen Wahrheit verschwimmen lässt. Zwei Jahre nach der Veröffentlichung ihres Albums ,Who Does the Music Love?" hat sich Outer World von einem Duo zu einer sechsköpfigen Band entwickelt, wobei ,HOME" sich wie der Soundtrack zu einem imaginären Spionagefilm anhört: hochdramatisch und spannungsgeladen, mit verhedderten Bettlaken als Höhepunkt. Hier gibt es keine Grenzen zwischen den Genres, es findet ein Dialog statt zwischen: ,Outernational"-Grooves, italienischen Western-Soundtrack-Komponisten, Hazlewoods Twang-Gitarren, Spectropop-Beat-Girls der 60er, Lagos-Highlife, zeitgenössischen klassischen Chorarrangements, isländischer Avantgarde, Bond-Bösewichten, Kunstobjekten aus der ersten Punk-Ära, östlicher Philosophie und der Kunstschule in Athens, Georgia, in den 80ern - all das ist darin enthalten, verwoben zu einer einzigartigen Stimme.

…Wenn der Sturm die Stille zerreißt…
Drei Jahre sind vergangen seit dem Doppel-Release Kapitel 10: Wilde Augen und Kapitel 11: Barrikaden. Drei Jahre, in denen die Welt nicht stillstand und die Band die Zeit nutzte, um einen Wirbelwind zu brauen, der nun mit voller Wucht losbricht: »Sturm zieh auf«.

Ein atmosphärischer Energieaustausch
Ein Sturm ist mehr als nur Wind. Er ist eine rohe, unkontrollierbare Kraft. Er bringt Zerstörung, ja – aber er schafft den zwingend notwendigen Platz für Neues. Er ist der atmosphärische Energieaustausch, der Altes wegfegt, um Raum für Veränderung zu geben. Kärbholz vertonen auf ihrem neuen Album genau diesen Moment der Transformation.

Mit 13 Titeln voller Leidenschaft und Emotion fängt die Band die gesamte Bandbreite eines Sturms ein: von der bedrückenden »Ruhe davor« über die Angst und Unruhe bis hin zur grenzenlosen Freiheit, die entsteht, wenn der Druck nachlässt.

Authentisch, kantig, kompromisslos
»Sturm zieh auf« schert sich nicht um Konventionen oder Kompatibilität. Das Album nährt sich aus den härteren Spielarten der Bandgeschichte und erschafft einen in sich geschlossenen Kosmos, der nicht um jeden Preis gefallen will – und vielleicht gerade deshalb so tief berührt. Es ist ein Werk für jene, die bereit sind, ihre Hörgewohnheiten infrage zu stellen.
• Kein Jammern, kein Fingerzeig: Kärbholz prangern nicht die äußeren Umstände an.
• Das eigene Ich im Fokus: Es geht um die Macht des Individuums, sich über das Gegebene hinwegzusetzen.
• Unbändige Positivität: Inmitten des Chaos findet die Band das Glück in den kleinen, wesentlichen Dingen des Lebens.

Das »Wozu« bestimmt das »Wie«
Frei nach Nietzsche transportiert das Album eine klare Botschaft: »Wenn ich ein Wozu kenne, dann kann ich fast jedes Wie ertragen.« »Sturm zieh auf« ist der Soundtrack für diesen Weg. Es ist die musikalische Manifestation der Resilienz – eine Einladung, sich dem Sturm entgegenzustellen, ihn zu genießen und gestärkt aus ihm hervorzugehen.

Kärbholz sind zurück. Lauter, härter und reflektierter als je zuvor.

…Wenn der Sturm die Stille zerreißt…
Drei Jahre sind vergangen seit dem Doppel-Release Kapitel 10: Wilde Augen und Kapitel 11: Barrikaden. Drei Jahre, in denen die Welt nicht stillstand und die Band die Zeit nutzte, um einen Wirbelwind zu brauen, der nun mit voller Wucht losbricht: »Sturm zieh auf«.

Ein atmosphärischer Energieaustausch
Ein Sturm ist mehr als nur Wind. Er ist eine rohe, unkontrollierbare Kraft. Er bringt Zerstörung, ja – aber er schafft den zwingend notwendigen Platz für Neues. Er ist der atmosphärische Energieaustausch, der Altes wegfegt, um Raum für Veränderung zu geben. Kärbholz vertonen auf ihrem neuen Album genau diesen Moment der Transformation.

Mit 13 Titeln voller Leidenschaft und Emotion fängt die Band die gesamte Bandbreite eines Sturms ein: von der bedrückenden »Ruhe davor« über die Angst und Unruhe bis hin zur grenzenlosen Freiheit, die entsteht, wenn der Druck nachlässt.

Authentisch, kantig, kompromisslos
»Sturm zieh auf« schert sich nicht um Konventionen oder Kompatibilität. Das Album nährt sich aus den härteren Spielarten der Bandgeschichte und erschafft einen in sich geschlossenen Kosmos, der nicht um jeden Preis gefallen will – und vielleicht gerade deshalb so tief berührt. Es ist ein Werk für jene, die bereit sind, ihre Hörgewohnheiten infrage zu stellen.
• Kein Jammern, kein Fingerzeig: Kärbholz prangern nicht die äußeren Umstände an.
• Das eigene Ich im Fokus: Es geht um die Macht des Individuums, sich über das Gegebene hinwegzusetzen.
• Unbändige Positivität: Inmitten des Chaos findet die Band das Glück in den kleinen, wesentlichen Dingen des Lebens.

Das »Wozu« bestimmt das »Wie«
Frei nach Nietzsche transportiert das Album eine klare Botschaft: »Wenn ich ein Wozu kenne, dann kann ich fast jedes Wie ertragen.« »Sturm zieh auf« ist der Soundtrack für diesen Weg. Es ist die musikalische Manifestation der Resilienz – eine Einladung, sich dem Sturm entgegenzustellen, ihn zu genießen und gestärkt aus ihm hervorzugehen.

Kärbholz sind zurück. Lauter, härter und reflektierter als je zuvor.

Coloured Vinyl. Harsh Reality - the fourth studio album by Seattle's The Drowns - is an unapologetically political punk record, coming this September from Pirates Press Records. Recorded at The Blasting Room in Fort Collins, CO by punk rock legend Bill Stevenson (Descendents, Black Flag) and mixed by Jason Livermore (Teenage Bottlerocket), this collection of 13 new songs fuses everything fans have loved about the band's previous sonic experimentation and focuses it into laser-tight melodic songwriting firmly rooted in punk rock, but with the potential to reach listeners from all walks of life. Singer-guitarist Rev Peters, singer-bassist Andy Wylie, and drummer Jake Margolis largely bashed out the tracks themselves, with the exception of additional guitar work on "Vengeance" by Zach Blair (Rise Against, Only Crime, GWAR), and a touch of accordion on "3rd & Pike" courtesy of Matt Hensley (A-100s, Flogging Molly). While the title of lead single "Relentless" could easily refer to The Drowns' infamously non-stop touring regimen, it refers instead to something far more humanitarian: the crushing weight of capitalism on the working poor. The song acknowledges the toll it takes on one's mental health, struggling day in & day out with no breaks only to be left farther & farther behind. "I wish life would just give it a rest", laments Rev. The album contains its fair share of venom, however, like all great political punk in the tradition of The Clash or Stiff Little Fingers, the lyrics prioritize people over polemic, reaching out with compassion in an age where it is in distressingly short supply. "I'm sure that we could change it all if we only had a heart", implores Andy on "Have a Heart". This is life-affirming music for hard times, made for everyone that could sorely use it right now, and a record poised to give the band's hard-earned position as a fan-favorite in the global punk scene an even greater trajectory. For a band that has won over fans around the globe, record by record and show by show, it is a big statement, but simply put: Harsh Reality is The Drowns at the top of their game.

My fourth album begins and ends in nature, a space that has continually shaped and inspired my artistic work. I spend much of my time in forests and landscapes, listening, observing, and absorbing the subtle rhythms and structures of the natural environment. These impressions do more than accompany my music; they become an integral part of it, influencing its atmosphere, form, and sonic character. As a result, this has become my most emotional and profound album to date. The journey begins with captured moments from a Mediterranean island. Fragments of distant church bells, the ticking of a clock, and the hum of insects in the sun are gently joined by my piano... In this way, the opening piece, “Time,” serves as an introduction to the central idea behind Ellipsis. The term derives from the Ancient Greek word λλειψις (élleipsis) and refers to the deliberate omission of ἔ words or parts of a sentence.

What remains unsaid can carry just as much meaning as what is spoken. This idea runs like a thread throughout the entire album. A reduction to the essential, yet enriched with the necessary details that continually create space for imagination, personal interpretation, and those emotions that are not prescribed but emerge through the act of listening. Ellipsis exists within this tension between presence and absence, between acoustic and electronic sounds, between nature and the studio, between memory and perception. It is a place where meaning arises not only from what is audible, but also from what remains unspoken.

Mit Nova Celestia präsentiert Schlagzeuger und Komponist Hendrik Eichler das Debüt seines Projekts Manic Anomaly - eine energiegeladene Space-Jazz-Odyssee zwischen Avantgarde, Improvisation und komplexen Rhythmuswelten. Inspiriert von Science-Fiction und synästhetischen Klangbildern entfalten sieben Kompositionen eine interstellare Reise voller Dynamik, Kontraste und klanglicher Weite. Eichlers Kompositionen verbinden dichte Grooves mit atmosphärischen Passagen und lassen den herausragenden internationalen Besetzungsmitgliedern viel Raum für kreative Entfaltung. Mit Kirke Karja, Teis Semey, Louise van den Heuvel und Angelika Niescier vereint das Album einige der spannendsten Stimmen der europäischen Jazzszene. Das Ergebnis ist ein kraftvolles, ideenreiches Debüt, das virtuose Spielfreude mit cineastischer Imaginationskraft verbindet und die Grenzen des zeitgenössischen Jazz neu auslotet.

Kyung Wha Chungs Debütalbum, eine Kombination der Violinkonzerte von Sibelius und Tschaikowski, gilt
seit über 50 Jahren weithin als Meilenstein. Bei seiner Veröffentlichung erhielt es eine begeisterte Kritik
vom damaligen Chefkritiker des „Gramophone“, Edward Greenfield, und wurde in der Sendung „Building
a Library“ von BBC Radio 3 zur Top-Empfehlung gekürt. Das London Symphony Orchestra unter André
Previn sind kongeniale Partner der großen koreanischen Violinistin.
Die Serie wurde von Rainer Maillard gemastert und von Sidney C. Meyer in den renommierten EmilBerliner-Studios unter Verwendung ihrer 100 % rein analogen Techniken (AAA) geschnitten. Es werden
ausschließlich analoge Quellen aus den originalen Stereo- und Quadrophonie-Masterbändern verwendet,
darunter auch kürzlich entdeckte analoge Master von frühen Digitalaufnahmen.
Diese in Deutschland bei der Schallplattenfabrik Pallas auf 180 g Virgin-Vinyl gepressten Deluxe-GatefoldVeröffentlichungen in limitierter Auflage enthalten: das Original-Artwork und Liner Notes; Archivfotos und
Faksimiles der Original-Aufnahmeblätter. Jede einzelne Veröffentlichung enthält individuelle Anmerkungen
von Dominic Fyfe, in denen die Geschichte der Aufnahme, der technische Hintergrund und der MasteringProzess detailliert beschrieben werden

Eero Koivistoinen's debut album reissued in July Eero Koivistoinen is a wide-ranging composer and a talented musician – one of the all-time greats of the Finnish jazz. In 1965 Koivistoinen founded a trio that played avant-garde and fusion jazz together with Pekka Sarmanto and Edward Vesala. In 1967–68 he was a member of Blues Section – a group that is regarded as the first progressive rock band in Finland. Valtakunta (“Kingdom”) was originally released in 1968 and is Eero Koivistoinen’s first jazz LP. The songs of the album are based on the lyrics written by Finnish poets Pentti Saarikoski, Tuomas Anhava, Hannu Mäkelä and Jarkko Laine. The vocalists are Eero Raittinen, Seija Simola, Vesa-Matti Loiri and Koivistoinen himself. He also plays the tenor saxophone, piano and vibraphone, and is joined by a vast selection of legendary Finnish musicians, including Seppo "Baron" Paakkunainen, Pekka Sarmanto, Ronnie Österberg, Hasse Walli, Juhani Aaltonen, Antero Jakoila, Kaj Backlund, Esa Pethman, and Reino Laine among many others. All compositions are by Koivistoinen. The album reflects well the forthcoming compositional repertoire of Koivistoinen with its wide style spectrum. Valtakunta was reissued on vinyl in 2016 via Svart and the pressing quickly found a new home on the turntables of record collectors worldwide. After ten years, it's time to bring back this quintessential piece of Finnish psychedelia, avant-garde, free jazz, and progressive rock on wax and CD again.

Whispering Ln. Vol. II was recorded between 2018 and 2019 in America, alongside the pieces that formed the first album. These recordings belong to the same time and space, shaped by the same quiet focus and slow attention to sound.

While remaining rooted in minimalism, this album introduces several more rhythmic pieces, drawing inspiration from early electronic music – echoes of composers such as Tom Dissevelt and Raymond Scott.

Movement and stillness coexist throughout this record. Rhythms and patterns shift and occasionally dissolve. The music asks for little and offers even less explanation, inviting listening without urgency – to slow down and remain present. May it offer a moment of calm, where time loosens, and attention gently settles.

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

On September 18, 2026, VILLAGERS OF IOANNINA CITY return via Napalm Records with Venceremos, a bold and immersive studio album that expands the band’s sonic universe beyond its roots. Blending heavy rock, progressive heavy metal and distinct folk elements, the Greek collective deliver their most ambitious and conceptually driven work to date.

Richmond's IRON REAGAN returns with their original lineup for the thrashing new EP, DEMONETIZATION. 6 blistering tracks clocking in at just 10 minutes, DEMONETIZATION shows the band (Tony Foresta, Ryan Parrish, Dr. Guitar, Phil Hall, and Adam Guilliams) crushing through the Punk, Hardcore, Fastcore, Thrash Metal, and more that have made IRON REAGAN a mainstay since their original 2012 demo. IRON REAGAN's most Punk lineup returns to deliver breakneck music at breakneck speeds. "Very excited to release new music with the original Iron Reagan lineup," says Foresta. "This is the first time we've released something with Paul since 2014 (Exhumed Split). This is some of our strongest/heaviest material we've done to date. Looking forward to getting back on the road with these guys and seeing everybody." Reactivated and ready to roll, IRON REAGAN promises that DEMONETIZATION is just a taste of things to come! Short: Richmond's IRON REAGAN returns with their original lineup for the thrashing new EP, DEMONETIZATION. FFO: D.R.I., Power Trip, Iron Age, The Accused, Nuclear Assault, Anthrax

IRON REAGAN's Relapse debut The Tyranny Of Will is a 24 song wrecking ball of hardcore-punk/thrash fury. Fronted by the venomously lyical Tony Foresta (Municipal Waste), on paper IRON REAGAN is a Richmond, VA supergroup (the band also features Phil Hall of Municipal Waste, Cannabis Corpse, etc as well as Ryan Parrish of Darkest Hour together with members of Mammoth Grinder). In practice IRON REAGAN are WAY more than just a supergroup project---they have toured the world several times over levelling audiences with their furious live show. This is a fully formed raging band that have delivered one of the heaviest hardcore records of the year that is guaranteed to be on the top of both metalheads' and punk rockers' year end lists.

Vom Internetphänomen zum außergewöhnlichen Singer-Songwriter: Der 23-jährige Amerikaner aron! präsentiert mit seinem Verve-Album eines der bemerkenswertesten Popdebüts der letzten Jahre. Bekannt wurde er
zunächst über Social Media, wo seine Performance-Videos auf TikTok und Instagram ein Millionenpublikum
erreichten. Mit Singles wie ”Cozy You“ und ”Wonderful Thing“ deutete er bereits sein außergewöhnliches
Gespür für große Melodien, raffnierte Harmonien und zeitloses Songwriting an. Auf ”Too Close For Running“ verbindet aron! jetzt klassischen Feelgood-Pop mit Einflüssen aus Jazz und dem Great American
Songbook mit der Leichtigkeit einer neuen Generation. Musikalisch steht er Künstlerinnen wie Laufey,
dodie und Mei Semones nahe – die beiden Letzteren sind auf seinem Debütalbum sogar als Gäste dabei.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Chess Records wurde 1950 von den polnischen Einwanderern Leonard und Phil Chess gegründet und entstand im Süden Chicagos, aber der Einfluss ist weltweit und über Generationen der Popmusik hinweg spürbar
– von Acts der British Invasion wie den Beatles, den Rolling Stones und Eric Clapton, die Chess-Künstler
als ihre Vorbilder nannten, bis hin zu den heutigen Stars wie Beyoncé, Jack White, Questlove und Bruce
Springsteen.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober 2025 eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler
Vinyl-Neuauflagen starten.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren, für die Veröffentlichung zum 18.September sind es die Alben von Chuck Berry
”After School Session” und Koko Taylor ”Koko Taylor”.

Der Soundtrack zum Oscar-prämierten Animationsfilm „Wallace und Gromit - Auf der Jagd nach dem
Riesenkaninchen“ feiert nun sein Vinyl-Debüt auf Picture Disc. In dem zweiten Spielfilm von Aardman
nach „Chicken Run“ begeben sich Wallace und Gromit auf ein urkomisches Abenteuer, bei dem sie gegen
ein riesiges „Wer-Kaninchen“ kämpfen, das die Ernte ihrer Stadt vernichtet. Die Filmmusik wurde von
Julian Nott komponiert, der auch bereits die Musik für die vorherigen Teile der Reihe geschrieben hat, und
von Hans Zimmer produziert.

"Welcome to THE VAULT for 1986. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1986. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop. 77 tracks across 4-CDs – NOW Yearbook – The Vault: 1986.
44 tracks across 3-LPs – pressed in gorgeous purple vinyl – NOW Yearbook – The Vault: 1986."

After enjoying two major hits with the singles “Maybellene” and “Roll Over Beethoven” in 1955 and 1956, it was not until May of 1957 that Chuck Berry released his debut studio album and masterpiece, After School Session. The second album ever released on the legendary Chess Records, After School Session offered a new sound to audiences, nodding to teenagers with its title and including a mix of “rockers” that set the blueprint for the rise of rock ‘n’ roll. Includes “School Day (Ring Ring Goes The Bell),” “Brown Eyed Handsome Man,” and “Too Much Monkey Business.” Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board.

"The 1969 self-titled album by Koko Taylor cemented her place as Chicago’s undisputed Queen of the Blues. Scouted by Chess Records house bassist and producer Willie Dixon at Chicago’s legendary Sylvio’s Lounge, Dixon provided his new protégé with “Wang Dang Doodle,” a song that would sell more than a million copies and become her signature tune. Drawing heavily from her recent run of hit 45s, Koko Taylorfeatures, in addition to “Wang Dang Doodle,” Dixon-penned classics including “Twenty-Nine Ways (To My Baby's Door)” and “Yes, It’s Good for You,” alongside Taylor’s own “Nitty Gritty,” highlighted by Johnny Shines’ poignant slide guitar. Koko Taylor remains a cornerstone of Chicago electric blues.
Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board."

The " This Is ..." greatest hits collection brings together some of his most beloved recordings, capturing the raw emotion, timeless storytelling, and unmistakable voice that made him a legend. Featuring classics like " Jambalaya (On The Bayou), " " Hey Good Lookin'," "I'm So Lonesome I Could Cry," and "Your Cheatin' Heart," and "Cold Cold Heart," the album showcases the incredible run of hits that shaped generations of country, folk, and rock artists. From heartfelt ballads to upbeat honky- tonk anthems, this compilation is a perfect introduction to one of country music's true pioneers.

Could it be that the world is finally ready for the tempestuous folk-rock opera that is "All the Leaves are Gone?" In 2004, only the truly informed and forward-thinking heads "got" this mini masterpiece. Critics scratched their heads and usually resorted to comparisons of past artists, like ol Grace Slick and her Great Jefferson Society, Fairport Convention (but which era? SURELY Judy Dyble's early reign?), and at best, Shirley Collins. A few fans attempted to connect the record to even more obscure "freak folk/rock" like Mellow Candle, Fear Itself, or Trees. "All the Leaves are Gone" was made by unique personalities not concerned with influences or copying any bygone era. Surely, some things are in our DNA or even early childhood, as Josephine Foster's roots in opera manifest themselves as much as any other influence in this organic song cycle. Sure, guitarist Brian Goodman may have heard Richard Thompson before, but his alchemical and molten guitar spray is purely his own, in tunings and intervals still not meant for normal humans to understand, mostly because his 2004 guts were poured into every sublime note (I think even Brian himself never even understood how good he was). That fiery emotion is also in every nuance of Foster's songs--like life, there's disquieting, jagged moments of unease, and there's calm both before and after the storm. There are moments of utter gentleness along the journey---because yes, every concept album should be a voyage, and this is one everyone should take. - Steve Krakow.

L.O.T.I.O.N. Multinational Corporation have been percolating in the NYC underground for the past 10+ years - gaining notoriety for their unique brand of industrial cyberpunk with intense live shows, fiercely political lyricism and striking visual aesthetics (masterminded by the band’s vocalist, noted visual artist Alexander Heir.) Blending noisy electronics and pumping beats with live instrumentation, the band draws inspiration from the militant minimal techno of Detroit, 90s Gabber, and the thrashing riffs of Hardcore Punk. The upcoming release "Machine Hallucinations" is their most fully realized to date. Exploring topical themes of artificial intelligence, the horrors of ICE raids and the corrupt modern military industrial complex, "Machine Hallucinations" is a violent and sobering critique of the current fractured state of The USA. Recorded and Produced by Ben Greenberg (Uniform) and featuring guest appearances from Iggor Cavalera (Sepultura, Cavalera Conspiracy), LA electro-punks La Pregunta? and vocalist Lulu (Fairytale, Twisted Thing) - as well as an expanded dual-guitar line-up, "Machine Hallucinations" broadens the sonic spectrum only hinted at on previous releases.

Led By Vultures, the new Los Angeles based heavy rock band fronted by Brian Tichy (Ozzy Osbourne, Whitesnake, Foreigner, Billy Idol, Gene Simmons, etc...)
has come together over the past year to record its powerful, uncompromising, undeniable brand of heavy music, and released their highly anticipated first single “Get It Right” in late-March. With that comes 12 songs dominated by loud guitar, massive drums, big riffs, killer grooves, aggressive vocals, and a feeling of flying through a tornado! With a pro home studio, Tichy started the recording
process and instead of trying to find the right players, engineers and producers, he chose to see it through on his own, and aim to make it feel and sound like a band that’s been together for years. Long time buddy/keyboard virtuoso Derek Sherinian (Alice Cooper, Dream Theater) lent a hand on a few tunes, including some co-writing and it was Sherinian who has been one of Tichy’s main friends, supporting him and telling him to stop talking and to get writing and recording!!
Led By Vultures is all about serving the song, the groove and the power it possesses. The recording process began as an organic, exciting, challenge for Tichy but soon became an all-consuming obsession to serve the songs and sounds with all of his being and abilities. This includes a rule of no samples or
auto tune! Led By Vultures; not just a band but a pure musical obsession!

Remastered limited edition double vinyl with double-sided screenprinted poster-cover (sleeve folds out to be one huge poster). A real collectors item!

When Off Off came out around June 1984, one couldn’t speak of an independent music scene in Portugal. Warm Records’ vague existence didn’t have any impact and Dansa do Som’s inaugural release appeared only in December. 10 years after the revolution, after two IMF interventions, a lot of political instability (not to say turmoil, in the first couple of years) and the natural excesses of a sudden burst of freedom, the Portuguese consumer had more choices but a generally poor standard of living. There was no entrepreneurial culture and serious second thoughts about investing private money in risky ventures.

After many complaints about the whole music scene (institutions, critics and record label executives, popular and classical music alike), something that would continue well beyond the end of the decade, Telectu decided to finance, record, produce, release and sell an album with complete independence from outside structures. Their karmic reward was profit. According to Vítor Rua, Off Off was the only album fully payed by the duo and the only one that really payed off. Not an easy accomplishment for a double LP housed in a large (also double-sided) screenprint with complicated cuts and folds. The artwork was conceived by António Palolo, a friend and multidisciplinary artist. It was based on a collage of heavily saturated and xeroxed polaroids framed in shocking pink and green. Palolo was considered the third member of Telectu, regularly producing slides, video and other visual support for their shows. The inspiration for the type of cover came from GRM’s Gramme series.

Off Off is divided in four distinct sides, each one corresponding to a “theme” or “function” related to Telectu’s manifold artistic interests and interactions. The titles are also gateways to influences and a small portion of Portuguese cultural life:

- Side 1 / “Diagonale” is dedicated to Egídio Álvaro, art critic and gallery director (he opened Diagonale in Paris). Performance art was arguably his main artistic concern over the years, so the music on this side is suggested for use by one or more performers in live or playback situations. The three tracks segue into each other, linked by a synth arpeggio much in the same way as Telectu’s previous “Belzebu” álbum (1983);

- Side 2 / “Anarké” is dedicated to the composer Filipe Pires, one of Jorge Lima Barreto’s recurring invocations when asked about worthwhile contemporary music in Portugal. It is subtitled “concert music”, proposing «a new form of listening». Three tracks also, and these are separated by “clap interludes”, which basically consisted in the following: JLB and VR each had a pair of headphones on, and they clapped their hands according to the rhythm of the music each one was listening. Both musicians were interacting with a different Steve Reich piece: Vítor with “Music for Mallet Instruments”, Jorge with “Six Pianos”. The result is disjointed clapping, an awkwardly deliberate celebration of their own music. Telectu applauded themselves.

- Side 3 / “Cornucópia” is subtitled “music for theatre” and dedicated to Luís Miguel Cintra and Luís Lima Barreto (JLB’s brother), both connected to the Cornucópia theatre company. The side consists of several short pieces previously used as interludes in the Cornucópia staging of “Mariana Espera Casamento” (1983). Field recordings, mood pieces, ambience and a numeric poem (“Soneto Soma 14x”, by E.M. de Melo e Castro) read by João Perry, a quite well-known stage actor. His voice is treated with a flanger effect;

- Side 4 / “Palolo” is “video music”. It’s a one-take mix recorded from cassette sources (Telectu studio experiences) and done live while watching António Palolo’s Om film (1978) projected on the living room wall. It’s a deep, immersive, quasi-mystical 20-minute piece perfectly suiting the meditative, abstract, fluid images created by Palolo by mixing paint and water inside a bathtub. One imagines the Cosmos, hardly suspecting the technique. The film is 90 minutes long, so the music on the LP is of course edited.

The six titles on sides 1 and 2 evoke demons, all of them with conflicting symbolism, since it varies from culture to culture, religion to religion. No explanation is given and Vítor Rua has no idea where this imagery comes from. During virtually the whole stretch of the 1980s, Jorge was the one in charge of titles and concepts, and Vítor didn’t bother too much even reading the liner notes :) In any case, when you synchronize the listening experience with the imagery, a powerful impression emerges, a feeling of being in the presence of these entities while placing yourself inside the sonic narrative.

Off Off is undoubtedly a seminal album in the history of electronic music, as much Heldon as Fripp & Eno, jazz and American minimalism, cosmic out-thereness, mantric miniatures. Telectu at the height of their powers, still very early on, delivering an album-manifesto advocating intermedia art and the fierce independence of Portuguese musicians «from the scum of capitalist music industry monopolies. It’s a path to follow, albeit one that requires enduring hardships and retaliation from music industry gangsters.» Despite a few journalists deemed «capable of being free», the media are «enslaved by the dominant and fascist imbecility of the speculators of light music.» Off Off is addressed to those journalists «and to an audience angry at the cultural misery imposed upon us ..., certain that this music will open new horizons of musical pleasure in the conception of Portuguese avant-garde music, and in the open consciousness of us all. OFF OFF repeats Freedom.»

Those two words are a direct lift from Alberto Arbasino’s 1968 book Off Off, the basis of which is a critical analysis of Theodor Adorno’s and Dwight MacDonald’s ideas concerning the stratification of culture in different levels (high, mid and low) and the pervasiveness of mass culture in the form of a culture industry. In very simplistic terms, and that is precisely the point that inspired Jorge, Arbasino argued that it was possible and desirable to effect a revolution from below, cultivating alternative circuits completely cut-off from what he termed the in-in reality. Telectu’s record was a deliberate demonstration that it could be done, displaying Freedom in the face of all the gatekeepers and other human obstacles.

Die Wiener Band feiert 2026 ihr 20-jähriges Bestehen - ein Statement gegen Schnelllebigkeit und für künstlerische Konsequenz. Aus der DIY-Punk- und Hardcore-Szene hervorgegangen, verbindet sie seit zwei Jahrzehnten elektronischen Industrial mit analogem Post Rock und schafft atmosphärische Klanglandschaften zwischen Melancholie, Düsternis und Hoffnung. Das neue Album "Minor Tremors" klingt rauer, direkter und zugleich zugänglicher als seine Vorgänger. Inhaltlich kreist es um Faschismus, politische Ohnmacht, Solidarität und Liebe in einer brennenden Welt. Die Band arbeitete u. a. mit Lustmord, Justin K. Broadrick, Jarboe und Dälek zusammen und teilte Bühnen mit Lydia Lunch, Boris oder Dälek. Produziert wurde das Album von FAZO666FAZO (Baits), gemastert von Alex Vatagin. Marketing Hardfacts:- begleitende Konzerte 2026/27 (bestätigte Daten bis hierhin):- TBA - - eine Vorabsingle inkl. Videorelease- redaktioneller Beitrag im Slam Magazin- intensiv begleitende Social Media Kampagne die über die Kanäle des Labels, der Band und der Protagonisten der Band- Reviews in Outlets wie The Gap, 4NDREAS.Postrock Blog

Set sail for the next leg of the journey! Diggers Factory is thrilled to present the One Piece: Into the Grand Line (Soundtrack from the Netflix Series) Deluxe Vinyl Boxset.

Following the Straw Hat Crew as they finally move Into the Grand Line, the soundtrack captures the epic, high-seas energy of the hit series. Composed by the powerhouse duo Sonya Belousova & Giona Ostinelli, the score blends orchestral scale with pirate folk-rock grit, now pressed on stunning colored wax.
Whether you're dodging Baroque Works or looking for a giant whale, this box set is the ultimate treasure for any Straw Hat at heart.
2LP Black Audiophile Vinyl: Two black vinyl representing the fiery spirit of adventure and the deep mysteries of the Grand Line.
Custom Die-Cut Jackets: Two single jackets featuring a central die-cut hole that reveals the beautiful map-work of the inner labels.
16-Page Booklet: A deep dive into the production with exclusive set stills and behind-the-scenes imagery from Season 2.
Double-Sided Poster (20" x 27"): Choose your vibe with the cinematic group shot of the crew or the iconic "Grand Adventure Awaits" sunset art.
6 Exclusive Postcards: Vintage-style travel postcards from legendary stops like Loguetown, Little Garden, and Drum Island.
Sticker Board: A collection of high-quality stickers including Laboon, the Going Merry, and Luffy's legendary $30,000,000 Wanted Poster.
Collector's Box: All contents are housed in a premium, wooden-textured outer box.
Netflix's epic high-seas pirate adventure, ONE PIECE, returns for Season 2-unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line-a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world's greatest treasure, they'll encounter bizarre islands and a host of formidable new enemies.

505 Games und Laced Records präsentieren die mitreißende Musik von „WUCHANG: Fallen Feathers“ auf Doppel-Vinyl.

Die gesamte Musik wurde von Joe Caithness speziell für Vinyl gemastert. Das Gatefold-Cover ziert ein Artwork des Entwicklers Leenzee, das den Protagonisten Bai Wuchang darstellt.

Die Handlung spielt im Land Shu während der Ming-Dynastie, und die Filmmusik spiegelt eine Welt wider, die von kriegführenden Fraktionen, einer mysteriösen Krankheit und monströsen Kreaturen heimgesucht wird. Die Musik fängt die feierliche Schönheit der Landschaft und die darunter lauernde Furcht ein und verbindet traditionelle chinesische Instrumente und kraftvolle Gesangsdarbietungen mit grandiosen Orchesterarrangements und unheilvollen Gesangseinlagen.

Zusammen bilden Musik und Artwork ein Werk, das sich zugleich elegant und unheilvoll anfühlt – ein Artefakt, das der untergegangenen Dynastie, die es repräsentiert, würdig ist.

Die mit Spannung erwartete Rückkehr der weltweiten Musikikone Chaka Khan ist da – mit ihrer ersten
neuen Musik seit über sieben Jahren! Das von Greg Kurstin produzierte und unter Mitwirkung von Sia
geschriebene Album mit zehn Titeln ist ein eindrucksvolles Statement einer Künstlerin, die ein wegweisendes
Jahr feiert – frisch ausgezeichnet mit dem GRAMMY für ihr Lebenswerk und aufgenommen in die Rock &
Roll Hall of Fame.

Moving between lo-fi experimental songwriting, sparse post-punk textures and intimate recordings; Ukrainian artist Regina Collage’s new album ‘Horizont’ is a personal and honest document of rebuilding a life and creative voice in Bristol. The record holds space for themes of burnout, quiet shame, tenderness and the courage of staying emotionally open when the world feels unstable. Sung entirely in Ukrainian, ‘Horizont’ does not ask the listener to understand every word. Feeling carries the songs forward. Across bedroom recordings and borrowed studios, Regina moves between cloudy dissonance and stark minimal arrangements built around bass, fragments of guitar, and an exposed voice. The recordings hold onto their rough edges. Mistakes remain and imperfection becomes part of the story. “Music for me is about not being scared to be vulnerable,” Regina says. “Almost every song I have is about what it means to be open and emotional. I really do not think it is a weakness. I hope people can listen and feel welcome to take a break and just let their emotions exist.” The album takes its name from the Ukrainian word for “horizon,” that unreachable line where sky meets earth. For Regina, the horizon became a quiet metaphor for living with distance and uncertainty. Inspired by one of her collage artworks showing a figure lying in grass and staring toward that far line, the title track reflects a feeling of moving toward something that never quite comes closer. Even without understanding the lyrics, the song carries a slow sense of longing and suspended arrival. m‘Vpiznavaty’, by contrast, initially feels almost light. Beneath that surface is a candid portrait of burnout and depressive exhaustion. The song looks at those moments when even greeting friends feels overwhelming. It captures the quiet embarrassment of withdrawing from people you care about, and the slow recognition that sometimes stepping away is simply how you survive. Other songs reveal different sides of the same emotional landscape. ‘Weak’ strips everything back to bass, a hint of guitar, and a bare vocal. Written and recorded in a single instinctive session, the track circles around the idea that softness might be its own kind of strength. Repetitive and intentionally unpolished, it quietly sets the tone for the whole record. Running through ‘Horizont’ is the reality of Regina’s life between Ukraine and the UK. Her hometown Kharkiv continues to face attacks, and many of her friends remain on the front line.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

2026 Repress

Inhale. Exhale. Remember to breathe. In that rhythm lies the pulse of being - the ancient echo of stars from which we are made. Breathing is the bridge between the inner cosmos and the outer void. When you breathe, you testify to existence itself: "I am." The Moonrover - a child of reason - abandoned on the cold, dead Moon. It does not feel time, know fear, or comprehend solitude. But a human, in its place, would understand: Silence is not emptiness. It is a mirror. And in that mirror arises the question: "If I am alone, and silence is infinite - who hears my breath?" The answer lies in the breath. Each inhale is resistance against entropy. Each exhale is an act of remembrance. To breathe is to remember that you are not just part of the Universe - you are its awakened part. And just as the Moonrover crawls across grey lunar plains, driven by an unknown purpose, so do you move through life, led by an inner light, until you realize: breath is not just life. It is a prayer sent into silence. And if you can hear it - you are alive.

"Psicofásicos" by The Silver Pumpkins is a unique document: an EP that is virtually impossible to find in its original edition, offering an essential glimpse into Bolivia's thrilling 1960s rock scene-raw, wild, and unlike almost anything else. Beyond the ubiquitous covers of Cream and Jimi Hendrix recorded by countless South American bands, this EP features the far less common 'Pushing Too Hard' by The Seeds and, most notably, the dark, powerful 'You're Gonna Miss Me' by the 13th Floor Elevators. Bolivia boasts an extraordinary musical legacy of raw, garage-driven '60s sounds. Alongside Peru, it was one of the South American countries where the greatest number of recordings in this style were released-captured with limited resources but overflowing with spontaneity, energy, and attitude. The difficulty of obtaining the records that were shaping the latest Anglo-American rock trends of the 1960s in many Spanish-speaking Latin American countries led to a proliferation of local bands covering their musical heroes. Well-known artists such as Cream, Jimi Hendrix, and Iron Butterfly were reinterpreted by countless groups, making these songs available to local audiences without having to rely on imported records reaching their countries. By doing so, these bands helped spread the cutting-edge rock music already making waves elsewhere in the world. What makes this release particularly unusual is that the band chose to cover second-tier cult acts rather than the obvious classics-groups that only briefly cracked the U.S. Top 50 in the late '60s, such as The Seeds and 13th Floor Elevators. Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem 'Pushing Too Hard' with the ferocious, immortal 'You're Gonna Miss Me' by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document-virtually impossible to find in its original pressing-that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.

“Environments 3” is one of ‘the great lost albums’ by The Future Sound Of London and these sessions have taken on almost mythical status with the group’s fan base. It was initially due for release after the 1993 release of the UK Top 10 album hit “Lifeforms”, but that didn’t happen. Instead, much later in 2010, it came on CD and download. Only now is it being released on vinyl for the first time..



This release also comes after the success of the first two installments which have sold steadily across the different volumes over the years and still climbing. This third volume is a sparse, highly minimal, and vivid departure from their dense 1990s period, and cited as one of the standout ambient releases of its time with FSOL in fine creative form. Reviewers at the time noted he complete absence of the heavy, spacey atmospheres of Lifeforms or the dark chaos of Dead Cities with delicate textures and moody variety throughout. While mostly calm and meditative, certain cuts evoke a desolate, lonely, or gently industrial feel.

Fort Romeau debuts on Rekids with the ‘Lovin’ U’ EP.

The British producer's three-track release lands this September. London-based DJ and producer Fort Romeau arrives on Rekids with the ‘Lovin’ U’ EP, releasing 11th September 2026. Opening the release, the title track beams sunshine through 8-bit melodies and a repeating, hypnotic vocal shot through with tasteful echoes, all underpinned by a tight drum groove. ‘No Limit’ dives into more of that endless depth, its vocal sample floating over the groove as delectable piano keys bring the party. Closing things out, the Trip Mix of ‘Breathe’ eases the pace, snappy rhythms laying the foundation while dubby chords spring through a track built for daydreaming.

Fort Romeau, aka Michael Greene, has spent more than a decade shaping a sound that blends deep house, hypnotic techno and ambient influences. His productions have appeared on labels including Ghostly International, Running Back, Live at Robert Johnson, Cocoon and Permanent Vacation, alongside more than 100 remixes for a wide range of artists. As a DJ, he's contributed mixes to BBC Radio 1's Essential Mix, the Resident Advisor Podcast and Circoloco Radio, while his latest EP for Rawax became one of Juno's bestselling records of 2026.

Almost Starlight is the extraordinary new album by Jem Finer (hurdy-gurdy) and John Matthias (violin). Produced by Jay Auborn and recorded in a Medieval Church, deep in the Devon countryside, in the Summer of 2025, the music is suffused with light, heat and the natural acoustics of the space.

The album defies categorisation; forced to pigeon hole it the nearest approximation would be ‘modern-classical’ but this ignores its myriad influences and explorations which encompass inspiration from Arvo Pärt through Terry Riley to Can via Delius, Alice Coltrane and a subtle reimagining of electronic music played purely with acoustic instruments, bending and shaping their possibilities in surprising and unexpected directions.

Jay Auborn plays cello on a number of the compositions and his production opens up and expands the music through a skilled and imaginative use of space, paying homage to the atmosphere of the church; ‘the sound evolved… chasing the imagined acoustics of that church in my mind; a place for worshipping light with sound.’

Almost Starlight will be released on the 4th September by Touch, available as CD, vinyl, cassette and on streaming platforms.

BIOS OF THE ARTISTS

Jem Finer

Since studying computer science in the 1970s, Jem Finer has worked in various fields, including photography, film, experimental and popular music, sound recording, sculpture and installation.

Much of his work relates to systems, extended processes and extremes of scale and includes Longplayer, a musical composition repeating once every 1000 years, and the Gurdy and Hurdy stones, ancient rocks set upright in fields in East Sussex and Gloucestershire with Jimmy Cauty. Their work together includes a band, The Standing Stones, whose most recent release is Twa Sisters, featuring Iona Zajac and Daragh Lynch.

He was a founder member of The Pogues, with whom he has played, written and recorded since 1981.

Recent music revolves around a fascination with the hurdy-gurdy and includes hrdy-grdy, a cassette released by Benedict Drew’s Thanet Tape Centre. His latest collaboration, with John Matthias, Almost Starlight, will be released by Touch in September 2026.

John Matthias

Since studying Theoretical Physics in the late 1980s and 1990s, John has created music and sound in many forms, including for installation, popular music, music for film, for dance and orchestra.

Much of John’s work plays with the physics of complex systems but he is also greatly influenced by stories and song. John has collaborated with Matthew Herbert, Stanley Donwood, Jay Auborn, Radiohead, Thom Yorke, Nick Ryan and many others to create music with a variety of textures and sonorities. He is particularly interested in simplicity and form and how context informs the way music sounds.

His latest collaboration, with Jem Finer, Almost Starlight, will be released by Touch in September 2026.

Mr Bongo proudly presents a first-time worldwide vinyl and CD issue of Rubel’s debut album Pearl. Self-released on YouTube in 2013, the album quietly became a huge hit in Brazil with the lead single and accompanying video for ‘Quando Bate Aquela Saudade’ amassing over 85 million views to date. Pearl laid the foundations for Rubel’s path to greatness - a first glimpse into the brilliance of a modern-day troubadour and ever-evolving Brazilian artist who deftly mixes classic and contemporary influences. Fusing MPB, folk, pop, and indie, it charts Rubel at his purest and most personal.

The journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.