Search:heartbreak

A hugely in demand repress (the original vinyl pressing on North Country changes hands for hundreds of pounds..) now released on Shack’s newly created own label Shack Songs.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (RIP) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97 , they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘HMS Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

A hugely in demand repress (the original vinyl pressing on North Country changes hands for hundreds of pounds..) now released on Shack’s newly created own label Shack Songs.

The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (RIP) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (RIP) of Love’s backing band. In ‘97 , they created a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘HMS Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

Die Songs, die auf 'The Pronoia Sessions' neu interpretiert werden, reichen zurück bis zum 2004er Album 'The Curse' ('Right Side of the Bed') und dem 2006er Album 'A Death-Grip On Yesterday' ('Ex's & Ohs', 'Theft'). Zwei ihrer größten Hits, 'Warrior' und 'Save Us', wurden von 'Baptize' aus dem Jahr 2021 überarbeitet. Und es gibt neue Versionen von 'Gone' und 'Drowning' von ihrer letzten Veröffentlichung, 'The Beautiful Dark of Life' von 2023.

Zusätzlich zu ihren eigenen Songs bieten ATREYU düstere Versionen des Tom Petty and the Heartbreakers-Klassikers 'Mary Jane's Last Dance' und der ewigen Audioslave-Ballade 'Like a Stone' unter der Leitung von Chris Cornell.

- Ltd. Col. LP: (Gold Vinyl)

Stabbing Westward’s 1996 album Wither Blister Burn + Peel is a defining release in the industrial rock genre. The album features a dark, aggressive sound with intense lyrics exploring themes of pain, heartbreak, and inner turmoil.

The standout singles “What Do I Have to Do?” and “Shame” propelled the band into mainstream success, thanks to their haunting melodies and heavy guitar riffs. Produced by John Fryer, known for his work with Nine Inch Nails, Wither Blister Burn + Peel blends harsh electronic elements with raw emotion, creating a brooding atmosphere that resonated with fans of alternative and industrial rock. The album solidified Stabbing Westward’s place in the 90s rock scene, offering a perfect balanceof angst and melodic hooks. For fans of industrial rock, Wither Blister Burn + Peel is a must-listen, capturing the dark energy of the era.

Wither Blister Burn + Peel is a limited edition of 1500 individually numbered copies on red and black vinyl.

Today, chart-topping vocal powerhouse Teddy Swims releases four new surprise tracks on I’ve Tried Everything But Therapy (Part 1.5). The project includes his chart-conquering smash hit ‘Lose Control,’ which recently claimed the top spot on the Billboard Hot 100 chart, and has surpassed 1 billion streams across all platforms.

Among the four new tracks on I’ve Tried Everything But Therapy (Part 1.5) is ‘Hammer to the Heart,’ a moody anthem with a stirring, stadium-ready chorus, ‘Tell Me,’ an understated alt-leaning offering that explores loss and heartbreak, and ‘Apple Juice,’ the kind of soulful throwback that Swims does better than anyone. Another unforgettable highlight is ‘Growing Up Is Getting Old,’ an acoustic treasure that captures the Atlanta native’s magnetism like never before.

Clear Vinyl. Like the soundtrack to a heartbreaking film that never existed, the songs on Casually Smashed To Pieces are simultaneously beautiful and completely unpredictable. "Knock At My Door" features gorgeous, interwoven melodic playing, layered arrangements and a twangy undercurrent; "Confusing Possibilities" is full of the band's characteristic dueling guitar lines, shifting dynamics, and sub-bass tones that help transport the band's music into uncharted territory; while "Stolen Moments" showcases singing horns and crescendos so gradual you'll wonder how you got from point A to point B. Let's be honest though, instead of mapping out each track for you, you're probably best off listening to it yourself... Like all great music, there's an undeniable amount of mystery in what the Six Parts Seven accomplish that can't be conveyed via adjective or analogy.

Marina and the Diamonds is an award winning platinum selling artist. She has three top 10 albums including Gold certified The Family Jewels and her second studio album Electra Heart which debuted at No.1 on the UK’s official charts. In celebration of 10 years since the original release of Electra Heart, Electra Heart (Platinum Blonde Edition) will be released on magenta vinyl on the 23rd September 2022. This special edition features additional tracks as previously heard on alternate releases of the album.

Featuring the hit single ‘Primadonna,’ as well as TikTok sensation ‘Bubblegum Bitch’ which had a massive revival with TikTok in 2021. The album will also include two tracks, ‘Electra Heart’ and ‘E.V.O.L’ that have never previously been released physically.

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

Genau zwei Jahre nach 'Ha Ha Heartbreak' kehrt Warhaus, das Soloprojekt von Maarten Devoldere, mit dem vierten Studioalbum zurück: 'Karaoke Moon'. Wer sich noch an den herzzerreißenden Vorgänger erinnert, wird vom Opener von 'Karaoke Moon', der ersten Single 'Where The Names Are Real', überrascht sein. Devoldere hatte nach zwei Jahren disziplinierter, mönchsgleicher Arbeit mehr als 50 Songs geschrieben. Doch was sagte Produzent Jasper Maekelberg, als er diese Demos einreichte? „Das kannst du besser.“ Die beiden musikalischen Seelenverwandten verbrachten darauf neun intensive Monate in einem Dachgeschossstudio in Brügge. Das Ergebnis ist das bisher aufregendste Warhaus Album.

In 'Karaoke Moon' spielt Warhaus mit unseren modernen Ansichten über Männlichkeit. Mit subtilem Humor umgeht er Unbehagen und macht sich mit zweischneidigem Witz über sich selbst und seinesgleichen lustig. Oft scheint es, als würde Devoldere mit seinen eigenen Gedanken schattenboxen und mit den heimlichen Gedanken seines Unterbewusstseins jonglieren. Die Kontraste in 'Karaoke Moon' lassen dieses Album mit jedem Anhören wachsen und verführen dazu, Schicht für Schicht, Zeile für Zeile tiefer in Warhaus einzigartiges Universum einzutauchen.

LAVENDER, das Debütalbum der Alternative-R&B-Musikerin MULAY, ist ein zutiefst persönliches Projekt. In zwölf kunstvoll intimen Songs verarbeitet sie eine intensive, schmerzhafte Erfahrung mit toxischer Liebe. Aber LAVENDER ist viel mehr als ein klassisches Heartbreak-Album. Es ist ein Plädoyer dafür, an Verletzungen und Enttäuschungen zu wachsen. Ein Leuchtfeuer im Sturm dunkler Zeiten, das von Heilung, Selbstentdeckung und Empowerment erzählt. Stärke durch Verletzlichkeit – das ist das Mantra dieser Platte.

Mit LAVENDER setzt die in Berlin lebende Singer-Songwriterin, Produzentin und Künstlerin den Weg fort, den sie mit zwei EPs begonnen hat: ANTRACYTE (2021) und IVORY (2022) ergänzten sich konzeptionell zu einem interdisziplinären Gesamtkunstwerk aus Sound, Gesang, Visuals und Performance, bei dem ambivalente Gefühle, Licht und Dunkelheit, zusammengedacht werden. Entstanden sind die Songs zwischen Paris, London und Berlin – zusammen mit alten (Llucid, Novaa), aber vor allem mit neuen Kreativpartnern wie den französischen Produzenten/Multiinstrumentalisten Elie Zylberman und Jules Minck. Auf der Suche nach ihrer kompromisslosen Wahrheit bewegt MULAY sich fließend zwischen innovativem Songwriting und ambitionierten Produktionen, die weite, kaleidoskopartige Soundräume voll von souligem R&B, Hip Hop und Electronica aufmachen. MULAY verwandelt Schmerz und Wut in fiebrig aufgeladene, ansteckende Soundscapes, in denen Downtempo-Momente und schnellere, tanzbare Beats sirupartig zu einem emotionalen Rausch zusammenfließen.

Gatefold 45rpm extended play vinyl + CD Pink vinyl. Recently discovered interview and 3 live tracks from Elvis' appearance in Toledo Ohio in November, 22nd 1956.

Gatefold 45rpm extended play vinyl + CD Pink vinyl. Recently discovered interview and 3 live tracks from Elvis' appearance in Toledo Ohio in November, 22nd 1956.

Die 1987 in New York gegründeten Winger erlangten mit ihrem 1988 veröffentlichten, selbstbetitelten
Studioalbum große Popularität. Das Album enthält die Hits „Headed for a Heartbreak“ und „Madalaine“.
Im Februar 1989 erreichte das Album Platz 21 der Billboard 200 und hielt sich 63 Wochen lang in den
Charts. Es erreichte Platinstatus in den USA und Goldstatus in Kanada und Japan.
Winger tourte mit Scorpions, Cinderella, Bon Jovi, Skid Row und anderen, um das Album zu unterstützen.

After more than a decade of lighting up Australia's soul scene and stages across the country, Fulton Street is all grown up with the release of their sophomore album 'Hard Truths' – and they aren't holding back. Raw and real, 'Hard Truths' is forthright funk that shoots straight from the heart.

Made with great reverence to the roots of funk and soul, 'Hard Truths' is made up of 11 songs recorded directly to tape. Produced and mixed by Fulton Street's very own Jamie Stroud, the album was recorded with Alex Bennett from Sound Recordings in Castlemaine and is a tribute to the rawness of analogue recording, resulting in a sound that makes you feel like you are right there in the room.

From their Uni days, Fulton Street has retained a truly vibrant sound that has only grown into a lion's roar. Recorded and produced to perfection, 'Hard Truths' is a record for retro music lovers who are looking to hear something true.

Fulton Street has lit up festival stages across Australia's biggest events, as well as continuously selling out feature shows. They have enthralled crowds at Moomba Festival, Tasmanian Wine Festival, Caloundra Music Festival, Boogie Festival, Brunswick Music Festival, St Kilda Festival, Melbourne Music Week, Stonnington Jazz Festival, as well as Bluesfest sideshow support slots.

Coming to full form in Melbourne's most iconic and sweatiest soul venues, Fulton Street is regularly featured nationally on the stations where the true music aficionados live: PBS, Triple R and Triple J.

The songs that grace this comprehensive double vinyl package all come from the golden age of country music. For nearly a century now, country music has been captured on cylinder, vinyl, tape and compact disc. In America during the 1950s, while rock & roll battled calypso as the nation’s favourite sound, meanwhile in the background, these classic country songs could be heard across the land - all the way from the Gulf of Mexico, right up to the frozen wastes of Minnesota. After the golden age of what might be called pure country, came country-rock, alt-country and Americana. But the century of songs gathered together here is plain and simple country music - at its best

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on heavy black vinyl, with extensive notes and lyrics.

One Way Trip to Gaia, Alberta Balsam's debut album, propels listeners into uncharted territory, delivering a futuristic fairytale--a utopian world that serves as a sonic refuge from reality. Building on the electro-IDM foundations of her earlier releases , this record evolves into an odyssey of bass-driven beats, breakbeat rhythms, and dub-infused atmospheres. As her most vocal project to date, the album showcases her ability to merge pop sensibility with otherworldly sound design, all while maintaining that club-ready energy. Limited edition: pressed on a black and silver marbled vinyl. Sleeve design by Timaeus

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on red vinyl, with extensive notes and lyrics.

Repress!

With Robyn, South London's cktrl shares his most ambitious work yet, collaborating with the likes of Duval Timothy, Coby Sey (Micachu, Tirzah, Dean Blunt) and Purple Ferdinand to create a vital exploration of contemporary-classical from the black perspective; out via Errol and Alex Rita's Touching Bass. Spurred on by the overpowering feelings of heartbreak, Robyn impressively creates emotive and heartfelt clarinet and saxophone-led soundscapes about the all-consuming power of love. On the project, cktrl says: "'Robyn' at its core is heartbreak and is just really sentimental. It's a journey of losing a love but it ends with optimism as you find strength to love again." Born and bred in Lewisham, cktrl aka Bradley Miller is an integral part of London's pioneering musical underground. One of the only remaining original DJs on NTS, cktrl has previously worked with and played alongside the likes of Sampha, Sango, Kelela and Dean Blunt. Throughout his career to date, cktrl has also been recognised and heralded by fashion and film VIPs including Virgil Abloh, Bianca Saunders, Tremaine Emory, Nicholas Daley and Jenn Nkiru who recently secured him a cameo in Beyonce's heralded 'Black Is King'. With a shared ethos of elevating and amplifying leftfield black music, he partners with London based label, Touching Bass, themselves a key cog within the city's bubbling musical underbelly.

Malva betrachtet auch diesmal gerne das Leben - ihres und das der anderen, generell und auf ihrem zweiten Album "A Soft Seduction Daily". Sie schaut von oben herab, ohne jedwede Herablassung, dafür aus einer Art erzählerischen Vogelperspektive. Probates Transportmittel der Wahl sind Töne, Melodien, Kadenzen, die auch auf ihrem zweiten Album ohne jedwede Anstrengung herausperlen, aus dieser jungen Frau, die sich aufmacht das Dasein zu erkunden. Malva textet auf Deutsch und Englisch: "Ich spüre, was für eine Sprache eine Melodie braucht". "A Soft Seduction Daily" erzählt von Auf und Abs, Serpentinen und Kurven, Romanze und Melancholie, spielt mit Worten, Musikstilen, dem Leben im Konjunktiv. Malva fangen auf dem zweiten Album an, sich in diverse Richtungen zu bewegen, die Grenzen ihrer musikalischen Persönlichkeit auszuloten und so klingt "A Soft Seduction Daily" streckenweise auch etwas lauter. Als Gäste sind Jesper Munk und Oskar Haag dabei.

Steve Leach's Balearic beach-funk beast Ocean Potion, recorded with the Crystal Grass Orchestra is an absolutely ace, Ned Doheny-adjacent funky AOR / blue-eyed soul BBQ classic from 1976.

Who is Steve Leach, you ask? None other than Seasick Steve in a previous life! A French-only release on Philips, it's a hugely immediate, pop-funk firecracker. It features a wonderfully lush, full orchestral sound throughout, underpinning Steve's gorgeous voice and an army of brilliant backing vocalists.

The supporting cast is phenomenal and is arguably the salient reason this is such a fantastic record. We're talking legendary players from the French scene (think Arpadys, Voyage, Kongas, CCPP, Giant, Swing Family) such as Don Ray with his arranger-conductor hat on as well as synths, Marc Chantereau on percussion, Slim Pezin on guitar, André Ceccarelli on drums, Christian Padovan on bass and Pierre Halation on flute.

With these snakes behind the scenes, it remains a mystery how Ocean Potion is so relatively unknown. Hopefully, this long overdue reissue rectifies this and puts a stop to people dropping $200 on it.

Triumphant, horn-forward opener "The Light Of The Mind" has that uniquely Ned Doheny fidgety funk feel with a fantastically irresistible chorus and great harmonies. Just magic. The insouciant, swaggering "Hey! Hey! What You Doin To Me" is straight up white-hot feel-good funk with by turns sweeping and stabbing strings and a neck-snapping break. Crucial. Coming off like something off The Beach Boy's Surf's Up or Holland (including a sneaky "reason to live" reference that surely nods to "The Trader") is the brilliantly ominous, driving wall of sound of "Take Strength". Cavernous drums, urgent strings and a staggeringly good vocal performance make this a real highlight amongst an album of highlights. The blissful folk-funk of "The Lady Of The Sea" is a real naked heartbreaker, melancholic vibes and a beautiful flute line complementing each other perfectly. Side A closes out with "All My Life", a groovy island-funk white-reggae-tinged lilter which just about lands the right side of acceptable.

Side B opens with the gorgeous "You're The Only One Girl" before the propulsive Philly soul of "At Least We Got Love" elegantly glides into focus. Pulsing beats and piano working with that irresistible orchestra of grass. Glacial ballad "All Love's Children" has a deep New Orleans soul feel that truly soars whilst the breezy "Get Out In The Sun" owes a debt to "Crocodile Rock". It's pure pop for now people and wouldn't have been out of place on a late 70s Nick Lowe effort. Deep late-period Beach Boys gem "Golden Hues" is another heavy melancholic down lifter that really beguiles before the real reason you're all here. Pastoral closer "I Meditate Each Day" is just beautiful, and likely the reason this reissue is giving you that special feeling. Another gorgeous flute-led, folk-funk groover, it featured in a memorable mix from the Creme2laCreme crew (Raphael Top-Secret, Jerome Qpchan and Antoine Kogut) live on Red Light Radio over a decade ago and has been top of many heads' wants list never since. Just mellow out.

As ever, the audio for Ocean Potion has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve featuring a topless Steve reclining next to his piano on a flatbed truck on the beach (of course?!) has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

"“There are times in life when you’re so present, so fully immersed in the moment that you can catch a glimpse of another universe, of a realm beyond our own,” says Louisa Stancioff. “It might last for a second or an hour, it might come in the midst of bliss or sadness, you might be alone or with a lover, but when it happens, there’s nothing quite like it.”

When We Were Looking, Stancioff’s stunning Yep Roc debut, is full of those moments. Written and recorded through a period of deep heartbreak and uncertainty, the collection is the raw and unflinching work of a nomadic soul who spent stints living in Alaska, California, New York, and North Carolina before returning home to her native Maine, one that holds nothing back in its bittersweet reckonings with pain, healing, acceptance, and growth. Stancioff writes with a cinematic eye here, conjuring up richly detailed stagings for her emotionally-charged character studies, and the guitar-and-synth-focused arrangements are immersive and nuanced to match, thanks in part to the evocative sonic landscaping of producer/keyboardist Sam Kassirer (Josh Ritter, Craig Finn), who proves to be an ideal creative foil on the record. Add it all up and you’ve got a dreamy, nostalgic Polaroid of an album that blurs the lines between indie stoicism and folk sincerity, a lush, cathartic work that hints at everything from Phoebe Bridgers and Arlo Parks to Big Thief and Waxahatchee as it learns to find the beauty in grief and rebirth."

Die Band, welche Alternative Country zum Durchbruch verhalf, ist zurück! 1983 begann Lone Justice in den Clubs von Los Angeles zu spielen und machte sich schnell einen Namen. 1984 bereits wurde man von Geffen Records unter Vertrag genommen, 1985 erschien das selbstbetitelte Debütalbum, mittlerweile ein Klassiker der Rockgeschichte mit geradezu ikonischem Cover. Die LA Times kürte es zum "Album des Jahres". Sie spielten Konzerte mit U2, Tom Petty & The Heartbreakers und Willie Nelson. Doch bereits nach dem zweiten Album löste sich die Band früh in 1987 auf, Sängerin Maria McKee und auch die Instrumentalisten begannen ihre Solokarrieren. Nun hat die Band 38 Jahre später ein neues, drittes Album fertiggestellt, mit zum größten Teil inspirierten Interpretationen von Fremdmaterial und Tradtionals, auf dem alle ursprünglichen Mitglieder des Debütalbums noch zu hören sind: Maria McKee, Ryan Hedgecock, Marvin Etzioni und auch der mittlerweile verstorbene Don Heffington. Zu den zusätzlichen Gästen gehören die Streicherarrangeurin Tammy Rogers, der Multihornist David Ralicke, Greg Leisz an der Steel-Gitarre und Benmont Tench am Klavier. Das Eröffnungsstück "You Possess Me" stellt Sängerin McKee in den Mittelpunkt, nur unterstützt von einem Streicher- und Mandolinenquartett. "Rattlesnake Mama" war einst ein dröhnendes elektrisches Stück in ihrem Live-Set von 1983 - diese Version ist jedoch rein akustisch mit Hedgecock an Harp und Tammy Rogers an der Fiddle. Später kreischen sie durch eine juvenile, atemberaubende Coverversion von 'Teenage Kicks' (der 1978er Single von The Undertones). Die Energie hält mit spürbarer Begeisterung für die Musik an und lässt Viva Lone Justice zu einem unerwarteten, inspirierenden Comeback werden. Lass den zweiten Frühling von Lone Justice auch dein Herz berühren, auch deine Scheune mit Folk, Rock, Country & Americana abbrennen.

Motherland is an electrified open letter to our dying planet. Having released a past solo EP in 2019, Motherland remains Lia"s first full-length offering. A longform listen of both heartbreak and help and healing. Seeing debilitation in its many forms and making art amidst the continued struggle. Her heavy lyrical content swirls through synth flutters and hard-hitting drums, making for a captivating contrast. Dystopian and dreamy. Ambient layers and atmospheric backdrops with piano ballads, downtempo electronica, and drum and bass. The influences of James Blake and Frou Frou ooze through these tracks. Think Låpsley, FKA Twigs, Kllo, Caroline Polachek.

The 25th anniversary edition of Mariah Carey’s multi-platinum selling record, Rainbow has been pressed on rainbow vinyl and includes rare photos from the era. Rainbow is Mariah’s seventh studio album, with #1 hits, “Heartbreaker” (ft. Jay-Z), “Thank God I Found You” (ft. Joe & 98 Degrees), the globally successful cover of "Against All Odds" plus more fan favorites. This deluxe album also features several bonus tracks including, ‘Rainbow’s End,’ a brand-new recording.

The 25th anniversary edition of Mariah Carey’s multi-platinum selling record, Rainbow has been pressed on rainbow vinyl and includes rare photos from the era. Rainbow is Mariah’s seventh studio album, with #1 hits, “Heartbreaker” (ft. Jay-Z), “Thank God I Found You” (ft. Joe & 98 Degrees), the globally successful cover of "Against All Odds" plus more fan favorites. This deluxe album also features several bonus tracks including, ‘Rainbow’s End,’ a brand-new recording.

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

Chinese American Bear ist ein C-Pop-Duo, derzeit in Seattle ansässig, das eklektischen zweisprachigen (Englisch/Chinesisch) Ohrenschmaus kreiert. Das Ehepaar Bryce Barsten und Anne Tong, macht Musik, die chinesischen Mando-Pop und westlichen Indie-Pop-Kanon vermischt. Sie schreiben Songs, die zwischen Englisch und Mandarin wechseln und einen Geist der interkulturellen Freude und Sehnsucht erfasst, die oft ergreifend ist und nie den Spaß verliert. Man hat sie als eine Mischung aus The Flaming Lips, Dusty Springfield und als wenn die Beach Boys ein Baby mit Care Bear hätten beschrieben. Das Album ist voll von Komik, Groove, Schrulligkeit und Niedlichkeit mit melodisch reicher Instrumentierung, ein bisschen Psychedelik, einer Dosis Funk und einer Menge Texte über das Füllen des Bauches mit Essen.

Featured here on this 3LP Silver vinyl gatefold set are some of the vital and most important music ever committed to vinyl. It covers the first seven recording years of Elvis Aaron Presley, years which saw him progress from teenage Memphis truck driver earning $35 a week to a multi-millionaire performer with the music and movie worlds squarely at his size 11 feet. Enjoy this portrait of the King at his imperious best – young, slick and ready to rock.

Global superstar, Dean Lewis has today announced his hotly anticipated third studio album The Epilogue will be released Friday October 18 . Following unprecedented worldwide success, critical acclaim, and sold-out tours, Dean continues to write and perform with unmatched vulnerability, vibrancy, and vitality. As such, The Epilogue, represents both the culmination of an incredible journey thus far and a harbinger for where he may go next. In between a packed live schedule, Dean penned music for The Epilogue during sessions in a Hollywood Hills house and in Hawaii. Harnessing a renewed state of inspiration, the troubadour tapped into the spirit of his earliest material from a fresh perspective honed by six more years of experience. , the 12-track The Epilogue LP includes his previous singles ‘Trust Me Mate’ and ‘Memories’ as well as the recently released single ‘All I Ever Wanted’. The heartbreaking new single with lightly plucked acoustic guitar and soft strings accompanying Dean’s delicate delivery, was written and recorded in Los Angeles and co-produced by Dean and acclaimed duo Afterhrs (Maroon 5, Niall Horan, Liam Payne, Louis Tomlinson). Since its release a fortnight ago, the song has already been added to KIIS, Hit Network (Fox, B105, SAFM) and Nova Networks as well as streamed over 2.1 million times globally.

In Cornish slang it is said that things get done ‘dreckly’; that is, not now, not necessarily tomorrow, but, at some indefinite point...in the future...soon...

Fitting then that when Bristol’s Langkamer decamped to their de facto home-from-home in the picturesque south-west seaside town of Falmouth to record their third album in as many years (with an EP thrown in there too) - there was no particular need to rush things: “The process was much slower and more considered for Langzamer.”, drummer/vocalist Josh Jarman explains: “The first two albums felt pretty urgent, and each was finished in about 6 months, but this one feels a lot more deliberate. It’s taken us two years to get this done.”

Equally fitting too that Langzamer kicks off proceedings with ‘Heart of Tin’: the first bars are languidly lugubrious, so deliciously plucked-out and scuzzed-up that they linger in the air like passing smoke, magically, slowing time down to their own assured and steady will. And in so much time, that also feels like no time at all, comes an opening line of such stark, disarming confessionalism as might be found in the David Berman/Silver Jews songbook: “Do you want the good news or the bad news first? // They’re both bad news, but the bad is worse” It’s Langkamer in a nutshell: embattled, heart-on-sleeve Slacker Rock slaked with twinges of fret-sliding Americana, yet deeply embedded in the folk mythologies, colloquialisms and experiences of the band’s West Country roots.

Throughout Langzamer, confronting the listener again and again is this conflict between the band’s breezy, melodic charm, and the threat of something more sinister lurking in the undergrowth. While those more familiar with Langkamer’s oeuvre to date will have already come to know and love their often self-deprecating yet witty lyricism, the songs on Langzamer take this trademark ebullient gloominess to more challenging plains: “Principally this is an album about grief, and everything that entails...” explains Jarman. “in a sense death brought these songs to life.”

This thread is felt no more so than on ‘Salvation XL’. Inspired by a “particularly bad batch of food poisoning I had in Morocco”, Jarman explains, and beginning with the memorable opening line, “Jesus came to me a Burger King in Marrakech”, the band wind their way through the ‘big topics’: death and God.

“This trip was shortly after a few of my friends had passed away, and I think a lot of my thoughts and actions at that time were being influenced by my grief without me realising it.”, he explains, “Whenever I dwell on grief, and how death has given my life a new context, I come back to that. The ongoing battle between agnosticism and atheism. I wasn’t raised in a very strict religious home, but I come from a long line of methodists, and it’s interesting to think about the way theism and religion have shaped my life without me knowing it. I think that’s being channelled on this album a lot. The uncertainty that comes with disbelief.”

Our collective mortal frailties are also felt on lead single ‘Richard E Grant’. With a trademark bittersweetness, a track that begins as an appreciation of the actor’s humorous social media presence unfolds as a study on “finding healthy coping strategies to deal with loss.”. Elsewhere, ‘At The Lake’ - to the tune of mournful, folk-like balladry - explores binge-drinking culture and the troubled association between unhealthy behaviour and creativity. The listener is left in no mind as to the meaning behind the references to James Joyce and Janis Jopin as “souvenirs stolen from the dark”.

With themes as weighty as these strewn across the album’s 10 tracks, It seemed like a particularly astute move then for the band to personally approach Ben Woods, founder of the Golden Dregs, to assist on production duties. Not only would the delicate intimacies of Woods’ main project - see 2023’s On Grace & Dignity for reference - add an appropriate moodiness, but Woods was also born and raised in Cornwall, where the album was recorded; amidst “eating pasties” and breaks by the sea, Woods and the band transformed the vaults underneath iconic Falmouth venue The Cornish Bank into a makeshift studio for a weeks’ worth of recording. Occasionally friends would drop by to lighten the load; Zander Sharp tracking violin on ’Double Island’ and ‘Flight’; Josh Law and Ben Sadler of Breakfast Records labelmates Getdown Services, both of whom contribute to the soul-stirring ‘mountain’ chorus on ‘Aberfan’.

When compared to the brightness of 2023’s The Noon and Midnight Manual, Woods’ influence on the record seems indisputable. On the aforementioned ‘At The Lake’, for instance, which features backing vocals from Woods. Or, most acutely, on the piano strains of harrowing closer ‘Bluff’, a track with such chilling, spectral severity as to effect the band’s most heartbreaking effort to date. While it’s particularly sombre note on which end proceedings, it's also an appropriate one: Langzamer bravely stands tall as their most restrained, matured, and sincere collection to date. And almost by virtue of its impeccable honesty, those moments of sunshine-joy that creep through the cracks feel that much more golden.

Visionary art-pop duo Faux Real (a.k.a. Los Angeles-based Franco-American brothers Virgile and Elliott Arndt) release their debut album "Faux Ever" on City Slang.

Faux Real’s long-awaited debut album "Faux Ever" is a self-described “11-piece symphony for head-banging and longing,” the album sees the fraternal duo continuing to play on the outskirts of language and sound, exploring themes of heartbreak, labor, and the home with harmonies and humor, playful beats, and en franglais. Recorded between Paris, New York, London, Los Angeles, and Provence, "Faux Ever" thrusts Faux Real’s sultry, surreal, and unclassifiable sound towards a glossier pop horizon, an existential sonic pastiche with a glistening digital sheen. "Faux Ever" also includes such certified bangers as the bold, glitchy, and infectious “Rent Free” and the acclaimed “Faux Maux,” both available everywhere already alongside self-directed official music videos streaming now on YouTube. Known far and wide for their DIY, Iggy Pop-meets-Eurodance live performances, Faux Real are building anticipation for "Faux Ever" with international shows in the UK/EU and US.

Format: 140g Crystal Clear Vinyl

About Faux Real:
Elliott and Virgile Arndt founded Faux Real in 2018, blending post-punk, glam rock, and a taste for pop grandeur, fashioning a truly inimitable musical experience. From their increasingly accomplished studio output to mesmerizing, unprecedented live performances, Faux Real invite the audience to join them an enthralling post-realist expedition through contemporary pop culture with razor-edged satire, inspired boy band choreography, and a charged sensuality that has fast earned them a fervent fan following that includes among their number such iconic stars as Duran Duran, Beck, Paramore, Metronomy, and Wet Leg. Now, with the imminent arrival of Faux Ever, Faux Real continue to gleefully ignore boundaries and barriers, assuring the journey is as exhilarating as the ultimate destination.

The latest 45 from Durand Jones & The Indications out on Colemine Records features two tracks from their previous LP, Private Space. The A Side features the album's title track and is a laid-back, string-enhanced, smooth progression where guitarist Blake Rhein plays minimal but on-the-money strokes. The flip is an uptempo, drum heavy beat with lyrics depicting heartbreak and longing. "Sea of Love" delivers on that smell good, look good, feel good '70s synth sheen arrangements, lavish string charts, and double-down confidence from a band who gets to move their core expertly into a different decade.

The latest 45 from Durand Jones & The Indications out on Colemine Records features two tracks from their previous LP, Private Space. The A Side features the album's title track and is a laid-back, string-enhanced, smooth progression where guitarist Blake Rhein plays minimal but on-the-money strokes. The flip is an uptempo, drum heavy beat with lyrics depicting heartbreak and longing. "Sea of Love" delivers on that smell good, look good, feel good '70s synth sheen arrangements, lavish string charts, and double-down confidence from a band who gets to move their core expertly into a different decade.

Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Drab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like "The Other Side", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment. The first single, "Ellipsis", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on "Long Division", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in "Oxytocin", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence. Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

180g vinyl + Silver Pantone print (Featuring a fragment from 'The Myth' (1896), a painting by Jos Dirks)

"agony, anguish, bitterness, despair, grief, heartache, pain,
remorse, sorrow, suffering, torment, woe. Another heartbreak album that is totally worth all of it."

In 1977 this classic punk album had a sound flaw and wasn"t heard properly until it was recompiled in 1994 - after both former New York Dolls Johnny Thunders and Jerry Nolan had died. Now songs like Born to Lose and Chinese Rocks are acclaimed as punk anthems. The album was remastered and repackaged in 2017 to celebrate its 40th anniversary, but has only ever been in black vinyl since then. "That "L.A.M.F.", the only studio album by Johnny Thunders" swaggering, smacked-up post New York Dolls outfit, The Heartbreakers, is one of New York punk"s defining artefacts (despite being recorded in Britain), is beyond dispute. 12 songs that put the guitarist"s abiding passions - Chuck Berry, The Rolling Stones, Phil Spector and Shadow Morton girl groups, glam, garage, trash and junk - in perfect, speedy collision." - Damien Love, Uncut mag, 9/10.

Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side.

La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere.

Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic.

Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.

Selam enezra ahunim (let us sow peace).