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The Greatest Hits von 3 Doors Down ist ab dem 15. November erstmals auf 1LP-Vinyl erhältlich. Das
Album enthält alle Hits der Band, darunter die Hitsingles „Kryptonite“, „When I’m Gone“ und „Here
Without You“.

Limited edition (200 copies) golden vinyl.

Michał Martyniuk, who lives in New Zealand, may be known from the band After 'Ours, whose double album was recently released by Funky Mamas and Papas Recordings.

His single was supposed to be released a moment earlier, but as it happens in the vinyl world - we had to wait a while for this wax.

Two of Michał's original songs, which he recorded with a great line-up: Jakub Mizeracki - guitars, Alan Wykpisz - bass, Tymek Papior - drums and of course Michał Martyniuk on keyboards.

The album is released in a super small edition of 200 copies, of which only 50 go on sale. The whole thing is being released by the reactivated Funky Mamas and Papas Recordings.

A real seven-inch rarity on gold wax.

A1 "3202" - This is one of those things that just happened. In his quest to discover something new in jazz, Michal combines and experiments with jazz harmony and groove club vibes, all performed using acoustic instruments. The aim is to encourage jazz audiences to get up and groove, and possibly introduce young people who like more upbeat music to discovering jazz. This Fender Rhodes based track is complemented by warm analog synths, a rock inspired guitar sound and tasteful drums that keep the groove going throughout the track. Recorded live in Poland late last year.

B1 "From The Planet Of The Hunters" - This track, as the title suggests, is a tribute to the great master Herbie Hancock. Michal has always been influenced by the sound of the Fender Rhodes and The Head Hunters. Without trying to copy anything, Michal based the song on a nice groove played by Alan Wykpisz on bass guitar and Tymek Papior on drums. While the groove takes us on a journey through time, Kuba Mizeracki on guitar adds beautiful melodies and rhythmic parts to complement the rest of the band. Michal Martyniuk, again with his Fender Rhodes, plays a simple but tasty and groovy solo, while adding some analog synths. This song is funky and rich in its simplicity.

Incomparable Northern Irish songstress Janet Devlin is poised to release her courageous country-rock album, "Emotional Rodeo," on 15th November 2024. Recorded at Martina McBride’s Blackbird Studio in Nashville with esteemed producer Roo Walker, tracked by Lowell Reynolds (Shania Twain, Boy Genius, Taylor Swift) and mixed mostly at Spotnick Studios by Grammy-Award winning producer/mixer Vance Powell, (Chris Stapleton, Jack White) Devlin captures the heartfelt essence of country-rock with an authentic edge, blending sharp, witty lyrics with themes of fearless self-empowerment.

Hard-Fi make their welcome return with brand new single ‘Don’t Go Making Plans’ on Ignition Records. Their first new material in ten years, the track marks the first taste of an EP of brand new songs, as well as a big UK headline tour this November. Rolling around a sun-scorched groove and boisterous beats, ‘Don’t Go Making Plans’ is an immediate, soul-infused summer anthem, recorded at the band’s own Staines studio, produced by frontman Richard Archer and long-term contributor Wolsey White. It’s the end result of the first session together since 2011 album Killer Sounds and follows a series of sold-out tours and live shows over the last 18 months - listen here. As with many of the band’s songs, there is a thought-provoking depth behind Hard-Fi’s pop sensibility. The song’s defiant themes were initially inspired by the UK Government’s attempts to criminalise many aspects of popular protest through the 2022 Public Order Act, while the issue has been thrown into even sharper focus over the last year as police and people have repeatedly clashed on streets around the globe. SGB50LPXX

Crypt of the Wizard is proud to present With Hope or Without, a new mini-LP from Riders of Rohan, available now on vinyl and digital formats.

The singing Rohirrim hath returned on their continued quest through the nooks and crannies of Middle Earth to tell more tales of love, longing and derring-do. This time our heroes even hark back to an era far beyond the Third Age and the War of the Ring on occasion, delving into territory lesser known to the fairweather Tolkienistas. That is not to say we won’t run into some friendly faces. Indeed one familiar friend is well-met wandering free out on the borderlands in Ranger Song yearning for yesteryear, and for lost love with a great destiny ahead of him.

One of the most dynamic female soul singers in the history of the music, Tina Turner oozed sexuality from every pore in a performing career that began the moment she stepped on-stage as lead singer of The Ike & Tina Turner Revue in the late '50s.

Her gritty and growling performances beat down doors everywhere, looking back to the double-barrelled attack of gospel fervor and sexual abandon that had originally formed soul back then. After almost fifty years in the music business, Tina Turner has become one of the most commercially successful international female rock stars to date.

Chelsea Wolfe presents 'Unbound', the final release in the 'She Reaches Out To She Reaches Out' triptych featuring special, stripped-down versions of Whispers In The Echo Chamber, Dusk, The Liminal, and Place In The Sun, plus a cover of Spiritbox's Cellar Door. Wolfe strips the songs down to their raw essence - just her voice, a guitar, or piano - capturing vulnerability and unfiltered truth. The music stands exposed, stripped and skyclad, each track a rite of passage, a descent into the heart.

"Enjoy The Ride Records in conjunction with Universal Music Group proudly present The Damned Things - Ironiclast. Available on vinyl for the first time, The Damned Things is a supergroup featuring Keith Buckley (Every Time I Die, Many Eyes), Scott Ian (Anthrax, S.O.D., Mr. Bungle), Rob Caggiano (Anthrax, Boiler Room, Volbeat), Andy Hurley (Fall Out Boy), & Joe Trohman (Fall Out Boy).

Pressed on 140-gram limited edition color vinyl, Ironiclast includes a double-sided insert with lyrics and an exclusive retrospective essay by Keith Buckley."

In 2019 the debut album “Attitude” by Lonerider was released, a band that not only features Steve Overland (FM, Solo, Shadowman), Steve Morris (Heartland, Shadowman) and Chris Childs (Thunder) but legendary drummer Simon Kirke of Free and Bad Company fame. The band come across like Bad Company mixed with Shadowman and their debut “Attitude” was loved by many. Lonerider have the feel of that classic Bad Company that we know and love, yet the songs are modern, fresh and vibrant. In 2022, the follow up album titled “Sundown” was released boasting 12 new tracks of classic rock in the same vein as “Attitude”, well why change a winning formula? The band have continued to attract new fans and they have all been eagerly awaiting a third outing and it’s due for release in November, 2024. The album “Down in the Dust is released on 15th November in both CD and limited edition (500 all numbered) double vinyl. The Vinyl will have 3 bonus tracks. This is an extension of what this exciting band have already given us, and it just keeps getting better. The addition of Steve Mann (Lionheart / MSG) adds so much with that Hammond organ vibe, giving it an “old school” feel and yet the band continues to expand on fresh ideas and melodies. There are no fillers here. Once again, the Lonerider lineup excel themselves in giving us another fine release.

After the split of Teenage Jesus and the Jerks, Lydia Lunch reinvented her solo career with the cinematic jazz gem "Smoke In The Shadows.

12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans

Butcher Holler is named for the little Kentucky town where Loretta Lynn was raised. On the tribute album of the same name, acclaimed singer-songwriter Eilen Jewell pays homage to Lynn’s humble roots and timeless, hard-hitting writing and performance style. For the first time, Butcher Holler is now available on vinyl, remastered and expanded with three brand new tracks. Jewell writes, “And so, a toast: to the woman with more banned songs than anyone can count; to that voice that reaches the very grain of the theater walls around her; to our national treasure. Gratitude is not enough, so I sing these songs for any who will listen.” The Boston Globe praised, “There's an irresistible snap to these songs- they're tight, deliciously twangy and rendered without orchestrated frills... a deft tribute."

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation: melancholy dub-funk, jangling psychedelia, moon-burnt sophisti-pop and stained glass folk mutations float freely together.

Entirely self-produced at Mood Hut Studios in Chinatown, Vancouver between 2022 and 2024, the album picks up where Opening the Door left off; the songwriting concise and refined, the voice front and centre on almost every song, the pensive mood irresistible and dense.

The apparently effortless melodic interplay of voice, guitar, synthesizers and bass that Jack is well known for is ever present but despite the clear-eyed harmonies and energetic rhythms there is a shadow that quietly haunts the album. The lyrical buoyancy of his early EPs and even some of the more explicitly sunburnt instrumental moments of his last record have continued to fade and peel like paint. Regret, remorse and melancholy are woven into almost every turn of phrase; the self-deprecating longing of Tracey Thorn and Sade Adu can be heard alongside the plaintive echos of Mark Hollis and Arthur Russell. The Mood Hut Records founder and NTS host digs deeper in all the directions that he only brushed upon on Opening the Door, creating a kaleidoscopic index of his omnivorous listening habits: from Underworld to Kate Bush, Disco Inferno to Bryan Ferry, Julian Cope to Arthur Verocai.

The LP will be released on Jack’s own Mood Hut Records on November 1st and will be followed by a live tour in the UK and Europe in November and December, featuring a string of dates opening for revered Los Angeles artist Jessica Pratt.
- Mood Hut Records, Vancouver

Produced by Jack Jutson at Mood Hut Studios, Chinatown Vancouver
Mixed by Jack Jutson and CZ Wang
Saxophone by Linda Fox
Strings on Falling Down a Well by Aiden Ayers
Bass on Down the Line by Diego Herrera
Additional synth on Red Cloud by Liam Butler
Artwork by Mela Melania + Jack Jutson






e A5. Pink Shoes Part I





Part II

Night On Earth records
is an independent structure/label created 20 years ago which deals with
the invisible and the deviant,
the void and the love,
the parallax and the unknown …
we release vinyls and tapes
we organise events
we are you and us
we are nothing and everything
we are oblivion and memory
we are your egotrip’s nightmare
we are your deviancy catharsis
meet us through this double LP which is one cartography of the night on earth vortex across 3 continents and several generations of music freaks and braincrackers

Some Artists missing there (there are too much : RINUS VAN ALEBEEK, SS MYLITTA, SOLAR SKELETONS, THE RADAR THREAT, ÂME DE BOUE, and.. RIPIT !

Recital presents a newly unearthed recording of an interview between Sun Ra and composer Charlie Morrow recorded at his New York studio in 1989. This voice-only recording develops more like a kaleidoscopic sermon than any standard interview.

Charlie Morrow recalls:
My 1989 Summer Solstice Celebration featured Sun Ra and his Arkestra. On March 29, 1989, ahead of this historical performance, Sun Ra came to New York to plan the performance and do an interview with me in the Charles Morrow Associates studio. There were members of the Sun Ra Arkestra, some of my team, and a photographer present. Once in the sound studio, Sun Ra wanted to record the discussion. What he says is so much more than anyone expected. I pushed record on the tape recorder, which quietly took it all in.

What Sun Ra recorded is a breathtaking expression of his feelings and strong convictions, illustrated with personal memories and stories. My few questions to him about the upcoming Solstice and about the sun and his thoughts about a dawn event triggered his mind. He launched into a nonstop journey of ricocheting stories and concepts, climaxing when I started jamming with Sun Ra on conch horn. Our duo drives to a climactic peak with explosive conch breath sounds giving line-by-line affirmations to Sun Ra’s points.

The 1989 Summer Solstice event brought together Sun Ra and his constellation of musicians and fans with my large-scale gatherings and work with the New Wilderness Foundation. Here in 2023 and beyond, the events live again. Sean McCann of Recital was drawn to Sun Ra’s words, which inspired the production of this edition. Sun Ra’s words seem to have an even greater resonance in present time. Ra is calling out the turbulence of the bad actions of the righteous and the good actions that an evil man, as he dubs himself, can perform, all the time believing that music has the possibility to bring all humans to a better place.

Charlie Morrow, 2023 / Helsinki, Finland

One-time pressing of 425 copies, includes 12-page booklet with rare photos and full transcription of interview, 24”x18” poster of Sun Ra 1989 Solstice performance photograph

The 10th anniversary from Back to the Beat introduce you to the scratsching session !

The Second House Crew Box Set contains a full set of absolute classics. Including the enormous hits "Euphoria (Ninos Dream) and "Super Hero" alongside epic remixes from The Criminal Minds, Nookie, Isotonik and three brand new House Crew tracks, this box set is an essential for every old skool and jungle vinyl addict!

Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.

From Karma Recordings comes their eigth EP. They are continuing their trend of getting their heroes from the 90’s to remix the original sound.

The massive rave icon Ellis Dee, one of the biggest producers on the planet brings his unique blend of piano sounds to the hands in the air anthem Warehouse Crew by DJ KOS, as well as featuring the original. DJ Ande has gone a little different with his hardcore tune Trip Home Pt 1 which is a nod to the classic hardcore tunes Trip to the Moon by Acen. To round things off web ring back DJ Terrace to hammer home a wicked tune in Top Gun which makes this another belter of an EP not to be missed.

Zum ersten Mal seit 2021 wird Pipe-eye, der australische Musiker, Sänger und Songwriter Cook Craig,
eine brandneue LP veröffentlichen. Das Album mit dem Titel „Pipe-defy“ soll am 18. Oktober erscheinen,
wobei die erste Single „Lords Of Lithium“ einen ersten Vorgeschmack auf das gibt, was noch kommen
wird.
Mit Anspielungen auf die ehrwürdigen Einflüsse von Funk und Synthie-Dance-Klassikern der 70er/80er
Jahre stellt Pipe-defy eine stilistische Abkehr von seinen früheren Alben dar. Craig erklärt, dass er seine
Einflüsse auf dem Ärmel trägt: „Ungefähr zu der Zeit, als ich anfing, Songs für das Album zu schreiben,
schenkte mir meine Mutter einen Haufen alter CDs aus meiner frühen Teenagerzeit, die ich seit Ewigkeiten
nicht mehr angehört hatte. Da waren haufenweise Grandmaster Flash, Herbie Hancock, Zapp, Stevie
Wonder und andere Sachen dabei. Als ich weiter Songs schrieb, fingen sie irgendwie an, so zu klingen...
also denke ich, dass das irgendwie eine alte Besessenheit von diesem Musikstil in mir ausgelöst hat.“ Dies
wird besonders deutlich, da jeder Track den Hörer dazu einlädt, sich in einem Teppich aus hypnotischen
Synthie-Rhythmen, beruhigenden Orchester-Hits und mit den Füßen wippenden, mit den Knien schlagenden
und mit den Händen klatschenden Grooves zu verlieren.
Pipe-defy ist ein Beweis für Craigs Entschlossenheit, mit jeder neuen Veröffentlichung eine neue Ästhetik
zu erforschen und sein Bestreben, neue Wege beim Songwriting zu gehen, weiter zu verfolgen.

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

Jennifer Loveless's 2023 anthem 'Pleasure' gets twisted with three dynamic reworks and a dub mix, taking the original vision into new sonic territory.

Parisian DJ / producer extraordinaire Bambounou pumps out a jackin' version to fire things up. Next up, the Lisbon-based veteran tINI gives a nod to old-school electro in a fresh bass-heavy offering. The EP is rounded off with an Indubm-3ntal mix by Loveless and label bosses Sleep D venturing into dubbed out techno territory, layering deep, atmospheric textures over hypnotic beats. Together, these remixes take the original to new heights, bringing pure pleasure to the deepest and darkest dancefloors.

Reaching For Our Star b/w Run Between The Raindrops (While My Teardrops Fall). A trio of Kansas City soul sweepers, from the sprawling mid west burg's storied Cavern, Damon, and Forte concerns. Bump and the Soul Stompers' 1970 sweet soul double sider "I C an Remember" was a tail pipe-dragging, low rider classic in the making, had it ever been released. A few years later Jerald "Bump" Scott took his new group to Cavern's subterrane an confines to cut the group harmony masterpiece "Living In The Past," but remained unissued prior to Numero's discovery of the Cavern tapes. As disco was cresting at the top of the next decade, Sharon Revoal tracked her James Brown meets James Bond stepper "Reaching For Our Star"_ the last 45 released on Marva Whitney's peerless Fortelabel.

Reaching For Our Star b/w Run Between The Raindrops (While My Teardrops Fall). Semi Opaque Natural VINYL. A trio of Kansas City soul sweepers, from the sprawling mid west burg's storied Cavern, Damon, and Forte concerns. Bump and the Soul Stompers' 1970 sweet soul double sider "I C an Remember" was a tail pipe-dragging, low rider classic in the making, had it ever been released. A few years later Jerald "Bump" Scott took his new group to Cavern's subterrane an confines to cut the group harmony masterpiece "Living In The Past," but remained unissued prior to Numero's discovery of the Cavern tapes. As disco was cresting at the top of the next decade, Sharon Revoal tracked her James Brown meets James Bond stepper "Reaching For Our Star"_ the last 45 released on Marva Whitney's peerless Fortelabel.

You Never End is the third album from Valentina Magaletti, Tom Halstead and Joe Andrews (Moin) out via AD 93 on the 25th October. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.

You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.

Interpol feiert den 20. Jahrestag der Veröffentlichung ihres Kultalbums "Antics", das ursprünglich am 27. September 2004 veröffentlicht wurde. Das zweite Studio-Album der US-Amerikaner festigte Interpols Position als eine der einflussreichsten Bands ihrer Generation. Interpol erlangte mit ihrer einzigartigen Mischung aus Post-Punk, Shoegaze und Dark-Wave-Einflüssen schnell große Bekanntheit. Die düsteren und atmosphärischen Klanglandschaften in "Antics" vereint mit Frontmann Paul Banks unverkennbarer Stimme, brachten darunter Single-Klassiker "Slow Hands", "Evil" und "C"mere" hervor. Zur Feier des 20. Jubiläums von "Antics" veröffentlichen Interpol gemeinsam mit Matador Records eine erweiterte digitale Neuauflage. Diese enthält eine neue B-Seite "Direction" und eine bisher unveröffentlichte komplette Live-Aufnahme des legendären Auftritts der Band 2005 im Palacio de los Deportes in Mexiko-City. In diesem Herbst wird die Band auf Tournee durch die USA, Großbritannien, Irland und der EU gehen. In Deutschland wird man sie an den folgenden Terminen sehen können.

180 Gram, Red Vinyl `Christmas With Ol' Blue Eyes' is an extension of Sinatra's most beloved holiday album `A Jolly Christmas from Frank Sinatra'. It includes the bonus tracks `Christmas Dreaming', `Let It Snow, Let It Snow, Let It Snow' and `Santa Claus Is Coming To Town'. His deep blue eyes earned him the popular nickname "Ol' Blue Eyes" which gave the record its title. Sinatra is regarded as one of the most popular entertainers of the mid-20th century. He is among the world's best-selling music artists, with an estimated 150 million record sales globally. Over the course of his career Sinatra received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award, and the Grammy Lifetime Achievement Award. He was included in Time magazine's compilation of the 20th century's 100 most influential people. American music critic Robert Christgau called him "the greatest singer of the 20th century" and he continues to be regarded as an iconic figure.

Multi Culti World Records venture deeper into the new new age with the release of 'Ocean of Beauty - Meditations for Synthesizer and Bansuri Flute,' a collaboration between California-based artist/DJ Earthtones and Indian classical musician Sheela Bringi. Earthtones, fresh off his genre-defying debut album on Wonderwheel, here dives into the deep end of the ocean of ambient. With music that traverses cultures,he’s known for bridging influences from Cumbia to hip hop and house music. Here he presents his most consciousness-expanding work yet, no doubt influenced by his involvement in Ojai new age culture,years living in ashrams, practicing Shaktism,+ spending as much time curating sounds suitable foraural healing and meditation as for dance-floors. He’s found a perfect muse in Boulder-based Sheela Bringi, whose virtuosity in Indian classical music sets the tone of the record with her bansuri (Indianbamboo flute) & harp, blending traditional instrumentation with more contemporary influences. Bringi was a direct disciple of bansuri master GSSachdev, and represents a devotional musical lineage. She has released two solo albums, 'Shakti Sutra' and 'Incantations,' and her work has been featured on over 50 world and ambient records, plus publicly on outlets from NPR to NBC News, & more. 'Ocean of Beauty' is the English translation of an ancient Sanskrit text devoted to the divine mother, the Sri Saundarya Lahari, The song titles are taken from verses in that text, and the album is in fact a dedication to the goddess Lalita Devi. It creates a serene, meditative space which seamlessly blends traditions; synth-driven ragas with a spirit of tranquility that nurtures Multi Culti’s philosophical bent towards ‘music without borders.’

Neva Dinova, Indieband aus Ohama, veröffentlichte in den 2000ern drei Alben und eine Split-EP mit Bright Eyes. Nun beginnt mit dem neuen Album "Canary" ein neues Kapitel in neuer Besetzung mit frischer Perspektive. Von verzerrter Erhabenheit bis zu Akzenten von Electronica & Hip-Hop tritt die Band klanglich aus ihrem Schatten heraus, während sich die Songs in kraftvollen Explosionen konzentrierter Energie verdichten, eindringlicher als je zuvor. Das verbindende Element bleibt die unverwechselbare Baritonstimme von Frontmann Jake Bellow, mit der er von Existenzangst, Entfremdung und Heuchelei singt. Neva Dinova gelingt mit dem Comebackalbum "Canary" eine Schönheit in Unvollkommenheit.

Erste Vinylauflage der 2022er EP der Alternative-Rock-Band Chase Petra aus Long Beach, Follow-Up ihres Debütalbums "Liminal" aus 2019. Sechs Tracks, die zwischen spritzigem Garage-Pop, donnerndem Emo-Punk und akustischem Alternative-Rock hin- und herspringen, vorgetragen mit einer melodischen Ohrwurm-Note. Blue Marbled Vinyl.

Re-mastered from original mono master tapes.

Limited edition 1000 copies.

180 gr vinyl pressed by Pallas in Germany.

Deluxe high-gloss flipback album jacket.

Facsimile reissue using the original cover art.

Double insert using an original photo by JP Leloir from 1955.

Each record has been visually checked to prevent defects.

Recorded December 27 and 29, 1955 at the Pathé Magellan studio, Paris.

Original LP issue: Barclay 84.023.

After hitting Paris in 1950, saxophonist Bobby Jaspar enthralled jazz fans and jazzmen alike with his smooth, elegant playing, with the lyricism of his tranquil phrases heavily influenced by Stan Getz in particular. So when Jaspar began regularly performing with a small ensemble at the Club St-Germain five years later, he adopted the same instrumentation as that of his idol’s illustrious quintet, with Sacha Distel on guitar and René Urtreger on piano in the roles of Jimmy Raney and Al Haig, respectively.

Contrary to what its title might suggest, ‘Modern Jazz au Club St-Germain’ was actually recorded in the studio. It features compositions by Milt Jackson, Dizzy Gillespie and Miles Davis along with a handful of standards, in which the angular aridity of bebop gives way to the generous and yet sensitive idiom of cool jazz.

Jaspar’s premature death in 1963 robbed the jazz world of a promising talent; this record is among his best efforts as a leader. Bobby Jaspar is in top form here !!!

Text – Pierre de Chocqueuse

Bobby Jaspar (Tenor Saxophone & Flute)
Sacha Distel (Guitar)
René Urtreger (Piano)
Benoit Quersin (Bass)
Jean-Louis Viale (Drums)

Red Laser continue their prolific purple patch, unpacking four more slabs of red lit Manctolo from a host of box jammers, old and new.

Frank Butters wastes no time at all, 'The Call Of The Wild' engaging photon tubes with a highly kinetic array of crystalline synth shards, thunderous bass and hyperactive sfx. Without geeking out too much, special mention has to go out to the synthesis on display here - Butters advancing up the levels of sonic shamanism as he conjures up never-before-heard patches of interstellar cosmic NRG...

Bob Swans' 'Bodyform4U' unites the robots with a universal message of togetherness. Its multiple layers of shuddering arpeggios and star-aligned synths working in unison to quell any fears and send us off into a space age utopia. One that'll work as well soundtracking the end of the session as it will as the dancefloor's filling up; its subtle anthemic qualities sure to rouse the spirits of even the most dehumanized cyborgs.

New signing Lone Saxon drops 'Hypersleep' which utilises rich piano chords and a hefty breakbeat, switching up the vibe but keeping things super uplifting. This one reminds us of that innocent period when you could get on the megabus for 50p and score three for a tenner on the dancefloor. An evocative vocal refrain adds a moment of thoughtful introspection in between the e-rushes and arm-raising for another moment of interactive harmony.

Finally, 'Webo' sees Franz Scala (with a little help from Il Bosco) return to source, delivering a bona fide slice of maximum balls out MANCTALO chug. With tension-wrought chord progressions, delicious layers of lead melodies and a soaring vocal, there's few that can resist the charms of this late night electro-disco hyper anthem.

All aboard the starship !

RL x

Belén Natalí, Argentinian artist based in Barcelona and known for her extensive international career in the field of reggae and sound system culture, starts a new project where she navigates organically in pop/lo-fi rhythms with R&B reminiscences and jazz without forgetting his nods to Jamaican music. Her EP Jacarandà (Say it Loud Records & Costa Futuro, 2023) is quite a declaration of intent that features the collaborations of Ferran Palau and Santa Salut on two of the cuts. Belén, inaugurates a new stage in her musical career with musicians and producers such as Genis Trani or Hoss Benitez and Enric Peinado from the groove combo Big Menu.

"L'œil De La Tigresse" by Delphine Dora & Anaïs Tuerlinckx presents six different sonic explorations of hidden aspects of perception and past experiences. Song titles that conjures images of freedom and exploration in untamed spaces. A raw experience that explores jazz and free improvisation, the contrast between tranquility and underlying longing.

Released under the Possible Motive label the album features six pieces that explore sound and identity.

Anaïs Tuerlinckx, a pianist and sound artist from Brussels, is involved in the Berlin improvised music scene. Her performances blend intensity with open spaces, achieved through her play on the piano and found objects, including a string box that adds depth to her sound.

Delphine Dora is a French musician and composer known for her work with keyboard instruments and field recordings. Her performances, often improvised, showcase her voice alongside various instruments, creating a rich blend of sounds. Over 15 years, she has developed a unique musical universe that crosses genres and languages, exploring themes of identity and the sacred. A prolific artist, she has participated in over thirty recordings and founded the Wild Silence label.

Peni Candra Rini (she/her), the Indonesian composer and performer whose musical practice encompasses a wide range of traditional and experimental Javanese styles, announces her new album Wulansih (July 12, 2024) via New Amsterdam Records. Kronos Quartet's David Harrington, a frequent collaborator of Rini, recently called her “one of the world's greatest singers”, and on Wulansih she places her voice in conversation with a wide array of experimental and traditional musicians, including Andy McGraw, Lester St. Louis, Shahzad Ismaily, John Priestley, Curt Sydnor, and many others. Produced by Ismaily at New York's Figure 8 Recording, Wulansih creates a world all its own.

The 8 songs on Wulansih exert a deep sense of spiritual calm and act as, in Rini’s words, “a reminder that you are still human, listening to expressions of other humans.” Her music is deeply inspired by the poetry of Rumi and Hafez, Wayang Kulit (Indonesian shadow play), and Serat, the tradition of Sufi thought in Central Javanese court poetry. Rini says that Wulansih aims to “express my inner feelings, my soul, to provide inspiration to younger Indonesian composers, and to introduce Indonesian new compositions to new global audiences.”

Wulansih is a small encyclopedia of Indonesian music. Rini explains: “The album mixes a wide range of materials, including traditional Javanese gamelan singing, Balinese chant, stringband music of the 1960s, and intercultural improvisations, bringing them all together through my contemporary compositional approach. We created experimental ensembles, and even experimental instruments and tunings to create an album that, whatever you think of it, sounds like nothing else.”

Rini’s lyrics are poems, strongly inspired by Javanese Sufism, with a deep emphasis on love and the inner self. Estu explores the idea of “love as a sacrifice; it takes a commitment to put one’s heart in the right place. It requires the seriousness of an artist,” while Warahsih explores how “always through understanding and sincerity, teaching Love to those who study the ways of life, through the ages.”

The music on Wulansih transforms these poems of love and compassion into open and lush sonic spaces that are crafted using synthesizers, traditional Indonesian instruments, Rini’s wide vocal range, guitars, and Ismaily’s production.

Smallville Records welcomes Barcelona’s Lis Sarocca onto the imprint this November with her four-track ‘Untitled Thoughts’ EP.

Since 2018, Barcelona, Spain’s Lis Sarocca has been steadily unveiling her take on House, Techno, Disco and Electro via the likes of Shall Not Fade, Hot Haus and Chiwax among others as well maintain a steady presence across the globe as a heavily in demand DJ. Here, we see Sarocca making her debut on Smallville with her latest collection of works, again showcasing her widespread influences and mesmerising sonic aesthetic across four cuts.

Up first is ‘Atacote’, a hypnotic house cut with a Balearic feel courtesy of breathy vocals, cinematic strings, piano lines and hazy atmospherics, intertwined with organic percussion and bouncy sub bass tones. ‘Breaks Reminder’ follows and shifts gear into a broken rhythm section, squelchy acid lines and textural synths throughout.
Opening the flip-side is ‘Early Years’, diving back into deeper realms with a multitude of ethereal pads, dubby synth flutters, plucked bass hits and crisp drums. ‘Might Be’ then concludes the EP on a more chuggy Nu-Disco tip, employing gritty bass stabs, bubbling arpeggios, airy flute melodies and a saturated off-kilter drum groove.

Comes with a Full Cover Artwork by Stefan Marx

Two of the most sensitive and sweet big room bangers to ever fill a floor, here’s Stay Here and Writer, the results of a recent machine jam between heavyweights of emotional dance music, Fort Romeau and Gold Panda.

Stay Here strikes first with slowly simmering synthesizers intertwining with slinky guitars and delicate vocal samples, while b-side Writer shows up to the party loaded with restrained euphoria, steady beats paving the path for the fragile acoustic elements of its glorious, beatless ending.

All of this spiked with just the right amount of acid to keep things constantly entrancing!

The record comes wrapped up in designer Eliot Axelsson's blurry shapes and vivid colours, arriving on vinyl and in digital form through Studio Barnhus on November 8.

Fashion icon, catwalker, curator, historian, commentator, activist, Grammy winner and - damn right - DJ, there ain"t much these days that Ms. Honey Dijon doesn"t do with aplomb. Most of her achievements thus far came via her passion for clubbing and the art of DJing, from those early Chicago parties to her role as a de facto ambassador for world dancefloors. This compilation is a pan-global, multi-era waltz through house music"s storied past. Repping Chicago, there"s Dance Mania"s Dance Kings, Blackjoy and Art Of Tones carrying the flag for Paris and even Shaboom"s Blackpool gets a nod. Some of these are forgotten classics, some are dollar bin finds, and there"s also a brand new Dijon track, sprinkled with her usual mustard-hot flourishes and lightly seasoned with some more recent efforts by Waajeed and Kiko Navarro. This can be consumed on a dancefloor, in the back of a cab or relaxing at home with a glass of something cold (or, if you must, hot).

Up To Here ist das diamantene Debütalbum von The Tragically Hip, das ursprünglich am 8. August 1989
veröffentlicht wurde.
Es enthält einige der beliebtesten Songs der Band: „Blow At High Dough“ und „New Orleans Is Sinking“
- beides Nummer-1-Radio-Singles in Kanada sowie die Fan-Favoriten „Boots Or Hearts“ und „38 Years Old“.
Die erweiterte Neuauflage von Up To Here ist ein Muss für Sammler. Sie wird in Form von vier Doppel-LPSets auf 180g-Vinyl sowie einem Vier-CD-Set und einem Buch, das die Geschichte des Debütalbums dokumentiert, präsentiert. Die Neuauflage enthält ein 2024-Remastering des Originalalbums, eine Aufnahme
von Live at The Misty Moon, dem 1990 für MuchMusic gedrehten Special aus dem The Misty Moon in
Halifax mit begleitendem einstündigen Konzertfilm auf Bluray, sowie die Demos der ursprünglichen Aufnahmesession von 1988. Vier bisher unveröffentlichte Songs, die es nicht auf das Original-Album Up To
Here geschafft haben - „She’s Got What It Takes“, „Get Back Again“, „Rain, Hearts And Fire“ - sind Teil
dieses erweiterten Pakets, das in Atmos neu gemastert wurde.
Erhältlich ab dem 8. November!

The Twilight Sad feiern das 10-jährige Jubiläum ihres gefeierten vierten Studioalbums 'Nobody Wants To Be Here And Nobody Wants To Leave' mit einer speziellen, limitierten 'Demos'-Version.

'Nobody Wants To Be Here And Nobody Wants To Leave - Demos' enthält ein komplettes Album mit Demotracks und den ursprünglichen Arbeitstiteln, die in Vorbereitung auf die offizielle Version des Albums aufgenommen wurden.

- Ltd. LP: (Schwarzes Vinyl)

Katie Malco's album 'Failures' has been hailed as a raw and powerful exploration of vulnerability, with Clash Magazine praising the album as "a work of real tenderness and stark honesty" and NPR Music highlighting its "bracing and infectious" sound. Her blend of indie rock and confessional lyricism has resonated with listeners, earning her critical acclaim. Over the past few years, Malco has toured extensively, sharing stages with the likes of Julien Baker, Lumineers, Laura Stevenson, SOAK, Bob Mould, and Jenny Lewis, solidifying her place as one of the most compelling voices in the contemporary indie scene.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

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

Unbound by place or genre, mercurial, experimental pop duo Soft as Snow find freedom to intuitively reflect the disarray of human connection with their intricate, shape-shifting pop production. With each successive release, the duo evolves, unfurling into their own poetic sound, now fully realized on their intimate, third full-length, Metal.wet.

The oft-present trappings of male-female duos are eschewed here as the Berlin-based Oda Starheim and Øystein Monsen contribute equally across a canvas of analogue synthesizers, samplers, live drums, and processed guitars. At once a part of and yet apart from the zeitgeist, their forward-thinking modernity stretches the limits of expectations across Metal.wet's ten insouciant tracks. Fans of Tirzah, Hype Williams, and even Angelo Badalamenti will find much to love in this haunting work peppered with ASMR moments and rough sampling wrapped in high production –– twinkling glasses and sirens in the distance, rhythms and voices up front. The result is synth-driven, noisy, and dripping with laidback, confident sensuality.

Although Starheim's voice begins the album in a whisper, it quickly becomes apparent that the group has jettisoned their previous tendency to bury and distort her vocals. Nested in a bed of thorny electronics and broken rhythms, her multifaceted vocals might bring to mind Kazu Makino of Blonde Redhead or Hope Sandoval fronting Massive Attack. London MC Brother May (Mica Levi, CURL) makes an appearance on the driving and ethereal “Whip,” while Øystein’s own voice appears for the first time in a state of languid background haze.

Soft as Snow create and record across Europe. Defiantly averse to genre, the pair become vessels for their “electronic music pushed to the brink of collapse” (The Wire), previously released by Infinite Machine and Houndstooth. Informed by backgrounds in film and performance art, “there’s a surrealism that comes with watching Soft as Snow in the flesh,” (Vice) as seen at L.E.V. and Lunchmeat Festivals. Collaborations with visual artist Guynoid, designer AGF Hydra, and sculptor Camilla Steinum add depth to the corporeality of their “strange, mesmerising and utterly unforgettable” electronic experimentations. (DJ Mag).

"‘I Never Loved a Man the Way I Love You’ runs the stylistic gambit without feeling Franklin is doing things just for show. The album isn’t trying to function as a resumé of her skills. Genre shifts feel organic and natural. “Don’t Let Me Lose This Dream” is built on a bossa nova groove, while “Do Right Woman Do Right Man” has a little country ballad flavor. “Dr Feelgood (Love Is A Serious Business)”—one of four songs penned by Franklin herself—is a bluesy belter. She might have been Queen of the genre, but pigeonholing Franklin in soul is like calling Sugar Ray Leonard just a welterweight. She could shuffle through styles as smooth as velvet. Everything is stamped with her own distinct character."

This 12-song collection from Elvis Presley compiles the King of Rock ’n’ Roll’s most famous Christmas recordings including ”Santa Claus Is Back In Town,” ”White Christmas,””Here Comes Santa Claus,” ”Blue Christmas,” ”O Little Town of Bethlehem,” and ”Silent Night” among others!

Clothilde’s new album sounds like a constant departure from almost everything. Up until now, her music pieces seemed uncontrolled, a total commitment to the machines. She was, somehow, in between us - listener, audience - and the idea of a machine producing sounds she doesn’t seem to control. Of course, none of this was entirely true, she was mostly in control, but the fantasy, the orchestration of it was beautiful. It was sci-fi-ish, Metropolis-magnificent.

In “Cross Sections” everything is purposely under control. We feel, without being told, that Clothilde is directing the narrative, inviting us to partake of this raw and austere electronic sound, forcing us to learn to enjoy it. This is new. Whereas before she would expect you to stay put and listen, eventually you would understand and give in. Or your body would. Now she is telling you to be there, she doesn’t want to be alone, she wants us to feel this subterranean urgency at all costs.

The real eureka moment comes with “Medullary Rays”, when we start cohabiting with the sounds, when they feel familiar. The darkness becomes real; it is palpable how she is stretching each sound and making them come to life at every moment. It is violent, brutal. Like every track, it's a relief when it ends, it's like coming out of a car crash alive. Much of the A side of is Clothilde pushing the boundaries of her sound. She is not testing but finding new ground and sharing it with us. She is exorcising, demolishing and building over and over again, she is crying and screaming, dozing off with the demential levels of bass, making us constantly listen to alarm bells. She is scaring the shit out of us.

The B side keeps the levels of anxiety high up, especially on the 13-minute “Ring”. Surrealistic drones come and go, every second sounds like the end of something, the accumulation of tension is torrential and it never, never stops. We hope there is a conclusion to this. But there is not. “Cross Sections” builds and feeds on this darkness but, in a way, it is self-contained. Never explodes, never releases itself from itself. It is a continuous process of catharsis that it is never over. It never aims to be. Like, you know, life itself.

We've all been there. It feels familiar. Now it has a sound, or sounds. It can be heard and it is outer dimensional. “Cross Sections” is a tremendous effort from an artist trying to survive something. You never know what is. You don’t need to know what it is. It is just there. Cliché but it has to be said: highest possible volume on this one.

System Olympia drops her album debut and, in turn, initiates her Okay Nature label. 'Delta Of Venus' takes elements of minimal synth/wave, pop, contemporary R&B, and fashions them into this steely, icy cool and highly original new form whilst keeping loyal to the DIY tradition. Stunning release that you really don't want to miss.

Captured Tracks brings listeners the demos of Mac DeMarco's latest mini LP, Another One, as a limited Record Store Day Release,! Over the past few years we have watched Mac develop from a cult artist, to a standout figure amongst the realm of the indie mainstream. From bedroom sessions to a string of critical accolades, high sales, and sold out tours all over the world, Mac stands as a true role-model for the young musician tinkering with their 4-track tape recorder in a suburban bedroom - a sincere example of humble beginnings, and honest hard-earned acclaim. These recordings give an intimate view into the world of Mac DeMarco like never before, taking listeners back to the roots of Mac's writing and recording straight from his own bedroom izz-Jazz' studios. Filled with lofi fuzz built upon foundations of infectious pop melodies, this collection of songs showcases Mac DeMarco in his truest form. This 16-song LP, as opposed to the 8 songs available on Another One, is sure to have both dedicated and casual Mac collectors alike lining up outside of their local record stores to pick up this truly special release.

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: Mac DeMarco has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip. This Old Dog makes for his fifth in just over half a decade_bringing the total to 3 LPs and 2 EPs. According to the DMV, DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks. It was a little space_in time, location, and method_that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he'd written in New York, he realized after a few months of setting up his new shop_complete with a few new toys_that the gap was giving him perspective (insert tooth joke here). Right off the bat, from the pops and clicks of the CR-78 drum machine and acoustic strums on the album-opening "My Old Man," the synth-drenched beauty of the second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall "unplugged" mood of the work: "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly," says DeMarco. Despite the changes considered during the creation of This Old Dog, Mac DeMarco's mid-twenties masterpiece, it's clear that the engine that motors him is in no danger of slowing down.

Beyond the Valley of the Murderdolls is the debut studio album by American horror punk supergroup Murderdolls. It was released in 2002. The album reached number 40 on the UK Albums Chart, and sold over 100,000 copies in the U.S.

Murderdolls are a side project for Slipknot drummer Joey Jordison and Static-X guitarist Tripp Eisen.

The music on the album is fast and macabre, stuck in a time warp that hurtles them backwards to the decayed sounds of the '80s. Call it gutter-punk, glam rock, or hair metal, every style is displayed here in its despondent glory, bearing close comparisons to shock-punkers the Misfits. The Murderdolls draw inspiration from movies such as Friday the 13th, Night of the Living Dead, and Phantasm. The 15 tracks found here are full of tongue-in-cheek horror clichés.

Beyond the Valley of the Murderdolls is now available on black vinyl and contains a 6 panel insert.

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts. With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special Anniversary Edition, with an additional insert with photo's, credits and a reflection by Colin Benders.







g Sorry Live @ Tivoli

i It Curcus [Not]







[g] Sorry [Live @ Tivoli]

[i] It Curcus [Not]

The two separate double vinyl sets are now available that correlate to the triple CD released earlier this year. TMTCH stumbled into existence onstage at the Alternative Country Festival, Electric Ballroom, Camden on Easter Sunday in 1984; after a long afternoon busking and drinking in a Hammersmith subway. They knew three chords and a hundred songs all of which sounded a bit the same, a frenzied skiffle that was exciting to jump around and drink snakebite to. If they thought about longevity at all, a lifespan of 40 days seemed most likely. It's forty years later and they are still running. Since those early days, and without much of a game plan other than always stepping onward, TMTCH have released around 20 albums plus many side projects, bootlegs, curios and an unknown number of T shirts. They've toured constantly, whether in dingy pub backrooms or Grand Ballrooms and Festival Stages. From Cairo to Reykjavik and all points in between, the TMTCH roadshow has shambled and thrilled through the decades, always passionate, always literate, occasionally dishevelled. Forty years of recording has spawned a vast back catalogue, well represented here by songs from each album, style and era; a tapestry of human stories and vibrant characters. So there are the fast sprints like early folk hoedown 'Ironmasters', the frantic shanty 'Raising Hell' and the amphetamine punk blues of 'Going Back to Coventry'. Then there are the waltzing folk ballads, from their impassioned version of the anti war standard 'Green Fields Of France' to the bitter regret of 'The Bells' and the righteous testimony of 'Our Day'. Elsewhere there are anthems galore; 'The Crest' a swirling gaelic chant, 'Rosettes', a fast marching assault of drums, fiddles and mandolins; historical epics such as 'Ghosts Of Cable Street', 'Shirt of Blue' and 'The Colours'; romantic ballads like the wistful 'Parted From You' and 'Island in The Rain'. All the eras are here; from the wiry lo fi of the first album, through the eighties into full blown MTV ready multi trackers with vast charging drums; the initial simplicity of their recipe deepening and darkening. And then on through the nineties, noughties and tens; always the double pronged vocals drifting between harmony and unison, always the celtic, folk and country tones vying for attention, the emotive fiddle, the top end mandolin above the thundering rhythm section. On through bouffant hair, spiky hair, dyed hair, thin hair and hats; on through Grunge, Baggy, Madchester, Rave, Britpop. On through the Miner's Strike, Poll Tax, New Labour, Iraq and Brexit. On through marriage, children, loss and revival. Forty years at the working end of rock and roll is a feat achieved by very few bands. It requires tremendous chemistry, a deep catalogue; both panoramic and miniature, a vital and irrepressible energy, all of which is on resplendent display in this sprawling 3 disc compilation. But most of all it requires an intense resilience, something that TMTCH possess in spades. Forty years on the run; was ever a band so aptly named?

"Even by the high-water marks set by Herbie Hancock’s tremendous 1960s Blue Note output, 1965’s Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist’s career. Hancock is joined here by his Miles Davis Quintet bandmates Ron Carter on bass and Tony Williams on drums, along with Freddie Hubbard on trumpet and George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, “Eye of the Hurricane,” and “Dolphin Dance.”
"

Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP

As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.

Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.

Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.

Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.

Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth

Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.

Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.

Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band BLUAI is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes.
Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of BLUAI's debut album.

Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. BLUAI's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. BLUAI thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House.

Save It For Later is the creation of a group that came together two years after the formation of BLUAI, found a common drive, and is now cruising at full speed. BLUAI is here to stay.

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts.

With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special 15th Anniversary Edition, with an additional booklet with photo's, credits and a reflection by Colin Benders.

Recorded at the Studio Acousti, Paris, September 23, 1965.

Original LP issue: International Polydor Production – 46.871.

This self-titled album is a testimony of the short lived-band led by New-York drummer Ron Jefferson during his stay in Paris in the mid-60s. After a first album under his name on Pacific Jazz in 1962, the founding member of The Jazz Modes and the Les McCann trio made the trip overseas.

Here, he made his living by playing with the popular pianists Errol Parker or Hazel Scott but his main drive was this trio that he formed with two other US expats, bassist Roland Haynes (the same musician who recorded an album on Black Jazz as a pianist, as confirmed by Kirk Lightsey) and guitarist Buz Saviano. After a highly successful show at ‘Palais de Chaillot’ in 1965, they were invited for a series of concerts in Dakar Sénégal. On their return, Polydor International proposed them this session. You can hear the deep impact their stay in the Motherland had on their music on the stand-out track ‘Africa the Beautiful’. On pair with the best of Yusef Lateef’s afro-eastern explorations from the time, it showcases Ron on flute and Senegalese percussion. The album release nonetheless was a commercial failure that prompted the band’s separation and Ron’s return to New-York where he performed until his passing in 2007.

Only a few copies of this record ever made it to the shops at the time and very few have had the chance to listen to it before this legit reissue remastered from the original MONO master tapes.

– Antoine Rajon –

Ron Jefferson (Drums & Flute)
Buz Saviano (Guitar)
Roland Haynes (Bass)
Jackie Robinson (Vocal on The Speaker)

"We could go so far as to say that it is the human condition to be grotesque, since the human animal is the one that does not fit in, the freak of nature who has no place in the natural order and is capable of re-combining nature's products into hideous new forms." So reckoned Mark Fisher in 'The Weird And The Eerie', which chronicled the means by which the uncanny can enter the everyday. Mwg Drwg, the second album from South Wales psychic seers Obey Cobra, is an album that dwells in exactly this kind of headspace, where the otherworldly meets the kitchen sink. Always a band who've sought out new dimensions to explore via their trademark warped post-punk, electronic and industrial influences, Obey Cobra have crafted surreal new shapes here. Taking influences as diverse as Diane Arbus, David Lynch and Sonic Youth, they balance out heaviosity and grace on the likes of the majestically discordant 'Ten Of Wands' Elsewhere, on the title track, the band sculpt a Jesus Lizard-esque rhythmic pulse, eerie vocal abstraction and the crepuscular downtempo atmosphere of Massive Attack's Mezzanine into a uniquely haunting dreamscape. Mwg Drwg is where the weird and eerie are amplified to intimidating proportions It's where grotesquely and beauty happily cohabit. It's an aural exorcism of William Friedkin proportions that demands your immediate attention.

Repress! The Doors Of Perception Is Presented In A Unique Blue Swirl Colored Vinyl Pressing / "The Doors of Perception" is among the most experimental and innovative releases by famed jazz vibraphonist Dave Pike. Recorded in 1966 and released in 1970, the album finds Pike indulging in full-fledged psychedelic jazz, with trippy grooves and a new sound. Produced by Herbie Mann, "The Doors of Perception" features an all-star cast of musicians, including Eddie Daniels, Lee Konitz, Don Friedman, and Chuck Israel. Their talents are complemented by a wide range of sound effects, from echo chambers to piped-in applause to thunderstorms to fuzzy distortion, making for a dynamic and unique listening experience.

In the heart of Offenbach, where the city's pulse synchronizes with the beat of the night, stands the illustrious Robert Johnson Club. For a quarter of a century, it has stood as a bastion of sonic exploration, a sanctuary for those who seek solace in the rhythm, and a beacon of inspiration for the global electronic music community. As it proudly raises its glass to toast 25 years of unrivaled musical excellence, the echoes of countless memories reverberate through its storied halls. To honor this landmark anniversary, „Live at Robert Johnson“ presents a kinda like masters blueprint of sound: "Tell Me Something Good - 25 Years of Famous When Dead!" This compilation, aptly named after the club's mantra, serves not only as a celebration of its rich history but also as a testament to the enduring legacy of the artists who have graced its stage. Crafted with meticulous attention to detail, each track on the compilation is a sonic journey unto itself—a symphony of beats and melodies that weave together to tell the story of Robert Johnson's evolution over the past quarter-century. From the pulsating rhythms of underground techno to the ethereal melodies of deep house, the compilation encapsulates the club's eclectic spirit and unwavering commitment to pushing the boundaries of electronic music. But beyond the music lies something deeper—an intangible energy that permeates every aspect of Robert Johnson's existence. It's the sense of camaraderie that binds together the club's patrons and artists alike, the shared experience of losing oneself in the music, and the profound sense of belonging that transcends language and culture. As the compilation reverberates through the speakers, it serves as a rallying cry—a call to arms for all who have ever felt the transformative power of music. It's a reminder that, even in the darkest of times, there is beauty to be found in the simple act of coming together and losing oneself in the rhythm of the night. So let us raise our voices in celebration of Robert Johnson Club and the indelible mark it has left on the world of electronic music. Here's to 25 years of passion, of creativity, and of "something good" that will echo through the ages for generations to come.

lorence Besch legt eine musikalische Entwicklung in Meilenstiefeln hin. In ihrem zweiten Album „Gathering Hearts“ sublimiert sie ihre Fähigkeit, fragile Ehrlichkeit direkt aus der Mitte des Herzens in rohe Power zu transformieren. So schwappt einem ein aufbrausendes, dreamy Gitarrenmeer mit von ihr gewohnt starken, echten Lyrics entgegen.
In einer einzigartigen Mischung aus 90s Shoegaze und Indie Rock, gespickt mit vielen zärtlichen Popmomenten, formt Besch ihr ureigenes Genre – Dream Grunge.
Inspiration findet sie bei Legenden wie PJ Harvey, Courtney Loves Band „Hole“ und Nirvana.

Giuseppe Crisci is a musician and composer who splits his life in between London and Naples.
Known for his previous Acid House projects under the pseudonyms of DoTheDu and Crishi, he released several records on labels like Senseverse Records, Stealth Mission, and Pareidolia Recordings.

Conceived and written in his apartment in London and mostly recorded in his studio in Santa Maria Capua Vetere, this album proposes the sound of an evolving artist who drags himself into the deepest corners of heart and soul using profound synthesisers sounds which are coloured by intimate saxophone solos and rusty piano chords that enfasise strengthen the true sentiment of his lyrics narrated in English and Neapolitan dialect.

“My aim is to reach people’s soul and humbly influence them positively by trying to express what I feel deep inside myself, beyond meanings and words”— Giuseppe Crisci

Auf dieser Tribute-Compilation finden sich Interpretationen von Margo-Guryan-Songs von TOPS, Rahill, Clairo, June McDoom, MUNYA und Kainalu, Frankie Cosmos und Good Morning, Kate Bollinger, Pearl & The Oysters, Bedouine und Sylvie, Empress Of, Barrie, und Margo Price. Die meisten unserer Geschichten über Kultmusiker, die ein oder zwei Alben machen und dann zu verschwinden scheinen, sind von Trauer, Verzweiflung und ausgefranstem Ehrgeiz umrahmt. Nicht so bei Margo Guryan, einer begeisterten Jazz-Ausnahmeerscheinung, die Popmusik verachtete, bis sie 1966 „God Only Knows“ hörte, das ihr ein Fenster zu den Wundern öffnete, die diese Musik-Form enthalten konnte. Nur zwei Jahre später veröffentlichte sie auf dem Album „Take a Picture“ ihre eigenen kleinen Popsinfonien und erntete dafür großes Lob und hohe Erwartungen. Aber da sie sich bereits von dem Posaunisten Bob Brookmeyer hatte scheiden lassen, lehnte sie es ab, ein Musikerleben zu führen und auf Tournee zu gehen oder auch nur darüber zu sprechen. Ihre Zurückhaltung führte dazu, dass „Take a Picture“ bald in den Regalen der Discounter und letztlich in den Mülleimern landete. Sie schrieb weiterhin Songs und nahm noch jahrelang auf, arbeitete sogar mit der Band von Neil Diamond zusammen, aber meistens schien sie mit ihrem relativ privaten Leben zufrieden zu sein. Wie es sich für eine so atemberaubende und subtile Musik gehört, erlebte die 2021 verstorbene Guryan in den letzten sechs Jahrzehnten mehrere Wiederauferstehungen. Und jetzt geschieht es wieder: Kurz nachdem ihre fast geflüsterte und liebeskranke Hymne „Why Do I Cry“ sie 2021, im selben Jahr, in dem sie starb, zum TikTok-Star machte, startete die Numero Group eine Wiederveröffentlichungskampagne, aus der 2024 das hochgelobte Set „Words and Music“ hervorging. Und jetzt haben ein Dutzend Künstler - von denen keiner geboren war, als „Take a Picture“ entstand - das gesamte Album (plus einen Bonustrack) für „Like Someone I Know: A Celebration of Margo Guryan“ neu interpretiert. Empress Of, Margo Price, Clairo, June McDoom: Sie alle bestätigen Guryans Schärfe als Songwriterin und die Brillanz eines Albums, das den Werbezyklus, den Guryan vor so langer Zeit ablehnte, bei weitem übertroffen hat. Guryan wurde in einer weitläufigen Familie in Far Rockaway geboren, als der Ort noch größtenteils von Bäumen umrahmt war. Während ihres Kompositionsstudiums an der Boston University stolperte Guryan in einen Auftritt als Pianistin zwischen den Konzerten des Miles Davis Quintet, unterschrieb einen Vertrag als Songwriterin bei Atlantic Records und verpatzte eine Session mit Nesuhi Ertegun. Aber sie war nicht darauf aus, ein Gesangsstar zu werden. 1959 ging sie an die Lenox School of Jazz in den Berkshires, um für Ornette Coleman und Don Cherry zu schreiben, die Aufmerksamkeit des Dozenten Max Roach zu gewinnen und in Gunther Schuller einen langjährigen Mentor und Freund zu finden. Sie wurde eine versierte Texterin und schrieb nicht nur für Coleman und Nancy Harrow, sondern auch für Harry Belafonte und Gary MacFarland. Aber es war die spätere Begegnung mit den Beach Boys, die Guryan die Tür zu „Take a Picture“ und einer Reihe anderer großartiger Songs öffnete, von denen viele auf „Words and Music“ erschienen sind. „Take a Picture“ ist eine ausgefeilte Bestandsaufnahme der Romantik und Unentschlossenheit der Mittzwanziger, vom koketten Treiben in „Sunday Morning“ und der Verliebtheit in „Can You Tell“ bis zur verzweifelten Hilflosigkeit in „What Can I Give You“. Ihre ewig weiche Stimme, ihre kühne Songkunst und ihre völlige Offenheit: Guryan machte 1968 und darüber hinaus gewagte Musik, egal wie sanft sich diese Klänge zu bewegen schienen. „Like Someone I Know: A Celebration of Margo Guryan“ unterstreicht die Stärke von Guryans Liedern, indem es einem Dutzend verschiedener Künstler erlaubt, sie auf ihre eigene Reise mitzunehmen. Im Laufe der letzten Jahrzehnte ist immer deutlicher geworden, wie gut Guryan war, wie stabil ihre Lieder inmitten der wechselnden Geschmacksrichtungen. „Like Someone I Know: A Celebration of Margo Guryan“ ist eine absolute Bestätigung, ein Zeugnis für die anhaltende Relevanz und Brillanz von Guryans Arbeit. Ein Teil des Erlöses dieses Albums wird für die Bereitstellung von und den Einsatz für erschwingliche reproduktive Gesundheitsdienste gespendet.

The Rills haben sicherlich ein oder zwei Häute abgestreift, um diesen Punkt am Vorabend ihres spritzigen Debütalbums zu erreichen. Produziert von Dave McCracken (Indie-Mastermind hinter Ian Brown, dEUS, The Rifles), nehmen diese drei jungen Freunde auf "Don't Be A Stranger" die ungenutzte Energie, die sie zu viralen Sensationen und Lieblingen der Grassroots-Szene gemacht hat, und verwandeln sie in etwas Überlegteres, Vollständigeres und Herzlicheres.

- "The Rills sind eine Mischung aus einer Northern Oasis inspirierten und einer trendy Post-Punk-Band aus London. Damit schafften sie es nicht nur mit ihrer Musik, sondern auch über Tiktok zu begeistern." - Budde Talent Agency (Tourveranstalter)

The "Sula Bassana" project marks the fusion of two distinct but complementary musical worlds: that of 20syl, electro-hip hop producer and DJ, and that of Christophe Panzani, versatile jazz musician. The album is an ode to contemplation, an immobile voyage embodied by the Gannet, the symbol of their creativity as they fly across styles and soundscapes.

The duo affirm their complicity with the eponymous track "Sula Bassana", where 20syl's sophisticated electro production blends with Christophe Panzani's melodious instruments. The track was accompanied on its release by a remarkable interactive video that poetically retraces the journey of a gannet.

The album also features a number of enriching collaborations. On "Dreams", they invite Yael Naim with her haunting voice and poignant harmonies. "Nuevo Mundo" invites La Chica to take us into a vibrant and eclectic atmosphere, fusing electro rhythms with Latin influences. Finally, "Playtime" features jazz pianist Eric Legnini, whose subtle chords and virtuoso improvisation infuse the album with a refined energy.

"Sula Bassana" is a space where the duo asserts itself with confidence, a rich and varied musical exploration, transcending the boundaries of genres to offer a unique and captivating sonic experience.

Die Sängerin und Geigerin Alice Zawadzki, Pianist Fred Thomas (der hier auch die historische Fiedel
und Schlagzeug spielt) und Bassist Misha Mullov-Abbado präsentieren auf ihrem Trio-Debüt eine seltene
Alchemie, die Folk-Idiome verschiedenster Herkünfte mit frei fließendem Zusammenspiel und beweglichen
Strukturen verschmilzt. Somit umgibt das Trio ein eigenständiges Stil- und Klangspektrum, das Volkslied,
Kammermusik, Improvisation und Jazz verbindet, und auf Za Górami bündeln sie all diese Qualitäten zu
einem faszinierend Ganzen. Sephardische Lieder sind ebenso zu hören wie eindrucksvolle Interpretationen
von Gustavo Santaollas ”Suéltate Las Cintas” und Simón Díaz’ ”Tonada De Luna Llena”. ”Za Górami“ – das
traditionelle polnische Lied, das dem Album seinen Namen gibt – erklingt in einer ergreifenden Fassung von
Zawadzki selbst, und das Renaissancestück ”Je Suis Trop Jeunette” findet in der von Monodien inspirierten
Fred Thomas Vertonung von James Joyce’ ”Gentle Lady” eine verwandte Gestalt. Das Album wurde im
Auditorio Stelio Molo in Lugano aufgenommen und von Manfred Eicher produziert.

Tim Bernardes ist ein zweifach für den Latin Grammy nominierter Sänger, Songwriter, Musiker, Komponist und Produzent, eines der größten brasilianischen Musiktalente seiner Generation und ein weltweites Phänomen. Als zeitgenössischer Künstler mit tiefen Wurzeln in Brasiliens grünem musikalischen Erbe, hat Bernardes mit Künstlern wie Caetano Veloso, Maria Bethânia und dem verstorbenen großen Gal Costa zusammengearbeitet, während er den Weg für die neue brasilianische Szene ebnete und die Herzen eines weltweiten Publikums eroberte. Viele entdeckten Tim Bernardes' aufsehenerregende Stimme und seine metaphysischen Texte durch sein bahnbrechendes Album "Mil Coisas Invisíveis" (2022), aber es war sein herausragendes Debüt "Recomeçar" mit dem Bernardes die Hörer in seiner einzigartigen Klangwelt begrüßte: warm, intim, emotional, resonant, heilend. Das Album entstand hauptsächlich während einer Tournee mit seiner gefeierten Tropicalia-angehauchten Indie Band O Terno und wurde 2017 veröffentlicht. "Recomeçar" ist eine Sammlung von intimen Reflexionen über Herzschmerz und Verlust. Jetzt wieder verfügbar!

Two-Piers bringt mit "Come To My World" eine kurze Geschichte und Tauchgang in die Welt des Indie-Pop, von seinen bescheidenen Anfängen in den 1980ern bis zu den vielen grossartigen Bands, die heute die Flagge hochhalten.

"Come To My World" beginnt mit coolen Bands wie Talulah Gosh, The Flatmates, Blueboy, Primal Scream, McCarthy, 14 Iced Bears und The Springfields auf bahnbrechenden DIY-Labels wie Sarah Records, The Subway Organization und Creation. Über die einflussreichen C86-Kassettenjahre gelangen wir zu den kommerzielleren Spät-1980er-Sounds von The Primitives, The Soup Dragons und The Darling Buds. Wir navigieren durch die 1990er mit der unterschätzten Brillianz von Heavenly, der florierenden schottischen Szene mit Acts wie BMX Bandits und The Vaselines, bis zum Durchbruch der Indie-Pop-Sounds von Velocity Girl und Blake Babies in den USA. In den 2000ern brachte die US-Szene exzellente Bands wie Dum Dum Girls und The Pains Of Being Pure At Heart hervor, neben Underground-Acts wie Joanna Gruesome, The Spook School und Veronica Falls. Die Zusammenstellung endet mit einem Blick in die glänzende Zukunft des Indie-Pop mit Künstlern wie The Goon Sax, The Lost Days und Ribbon Stage.

Für Indie-Pop-Liebhaber ist diese Underground-Musik seit fast 40 Jahren eine ständige Quelle der Freude. 2LP mit 34 Tracks. 2CD mit 40 Tracks.

Sdban Records präsentiert unveröffentlichte Radioaufnahmen
von 1967 des serbischen Jazztrompeters, Komponisten und
Bandleaders Dusko Goykovich (1931-2023). Zu diesem
Zeitpunkt hatte er sich endgültig als einer der profiliertesten
Jazzkünstler Europas etabliert.
Goykovich wurde in Jajce, Bosnien und Herzegowina, damals
Teil des Königreichs Jugoslawien, geboren. Er studierte von
1948 bis 1953 an der Belgrader Musikakademie, spielte
Trompete in Dixieland-Bands und trat im Alter von 18 Jahren
der Big Band von Radio Belgrad bei. Nach seinem Umzug
nach Frankfurt 1956 etablierte er sich in der westdeutschen
Jazzszene, wo er mit Kurt Edelhagen und Kenny Clarke &
Francy Boland spielte. Mitte der 60er Jahre kehrte Goykovich
nach einem USA-Aufenthal nach Europa zurück und stellte der
Welt bald seinen innovativen Balkan-Jazz-Sound mit Swinging
Macedonia (1966) vor, einem Album, das durch
melancholische Melodien und anspruchsvolle Rhythmen
gekennzeichnet war.

Opaque yellow vinyl in reverse board jacket.
A full four years after Chicago organ maestro Jimmy Lacy’s legendary maiden voyage as SiP, Leos Naturals, he returns with its lush, layered, long-awaited sequel: Leos Ultras.

Conceived and recorded in a corner of a large floorplan warehouse-turned-sound lab called Homan Gardens, the album radiates a rare joy and colour, projected through a technicolor slideshow of cosmic keys, clarinet, kalimba, sax, melodica, flute, tambourine, and drumbox. The songs feel warm and weathered, like familiar garments treasured through passing seasons.

Many seasons did pass while these songs took shape, spiked with seismic changes – Lacy’s first daughter was born, followed 17 months by a second. Daily routines grew denser, but he never lost faith in the melodies simmering in the periphery of his thoughts: “I knew the music would be there whenever I had the time. It felt good to stay calm about it.” Patience paid off; Leos Ultras is indeed the ultimate SiP statement to date, rich with detail, discovery, beauty, lofted improvisation, and shades of spiritual jazz. It’s music both casual and cosmic, playful and poignant, channelled from long shadows and wordless hours in celebration of life, love, and Leo.

Joel Sarakula's new album "Soft Focus" is a mid-career album spanning his many influences and genres including Soft-Rock, Funk and Indie Pop, all brought under the umbrella of his gentle gaze and a 'soft' aesthetic. "Soft Focus" is also the name of a photographic technique born out of a spherical abberation of the lens where the image is a bit blurry and undefined: it's both flattering and forgiving on the subject. It's an apt title. As a lifetime wearer of (vintage) glasses, Sarakula knows a lot about spherical abberations. Perhaps he produced these songs with his glasses off as these are abstract and warm vignettes, never overstaying their welcome and for this reason Sarakula manages to feature twelve new tracks on "Soft Focus".

Highlights include one of the two Shawn Lee produced tracks "I'll Get By Without You", the rockier, iberic beat of "King Of Spain", the soulful affirmation of "Back For Your Love" and the psychedelic-tinged "Bird Of Paradise" and "Microdosing". This is a lovingly crafted album, well polished and it feels like the culmination of Sarakula's adventures in soulful soft-rock and his defining statement in the genre. While comparisons will be made with contemporary projects like Shawn Lee's Young Gun Silver Fox, Drugdealer, Benny Sings and Prep, echoes of soft-rock icons Ned Doheny, Boz Scaggs, Todd Rundgren and Michael Franks also ripple gently through the album.

Imagine if Ray Manzarek was the frontman for the Bee Gees... It's a neat visual introduction to Joel Sarakula, a UK-based Australian artist who writes, produces and sings Soulful Pop, gazing out at a contemporary world through vintage glasses, vintage threads and long blond hair. His music is informed by a rich, 1970s-inspired palette, drawing on soft-rock, funk and disco influences: sunny, uptempo jams for darker times. Self-aware that he looks and occasionally sounds like the love child of Ray Manzarek and the Gibb brothers, his self-deprecating sense of humour is always there just below the fringe.

Born in Sydney, based in UK and international in outlook Sarakula is a songwriter who has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe. Since then he has released albums such as "Island Time" (2023), "Companionship" (2020), "Love Club" (2018) and "The Imposter" (2015) that have racked up plays on rotation across national UK and European radio and got him noticed in The New York Times, The Independent (UK), The Irish Times, Rolling Stone Germany, El Pais (Spain) and Sydney Morning Herald. It's- been a long road finding his current cult status starting out at the piano from a young age in suburban Sydney, writing and singing songs by the time he was a teenager and onstage by fifteen years old playing jazz standards in his local golf club. "I came from humble beginnings, it's best not to mention" as he sings in his 70s boogie influenced song "I'm Still Winning". Joel Sarakula is a fixture on the festival and club circuit having previously performed at SXSW, Primavera Sound and Glastonbury festivals. Ever the internationalist, he tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is another echo of the 1970s when world travelling soul and pop artists from the US did the same and guarantees that his live shows remain fresh, exciting and absolutely contemporary.

Twilight of the Gods is the newest Netflix phenomenon from the vision of Zack Snyder. The animation series brings the spectacular world of ancient Norse mythology to life. The series is acompanied by a epic, haunting and beautiful film score created by Hans Zimmer, Omer Benyamin and Steven Doar. This collaboration between renowned composers results in a cinematic masterpiece that perfectly complements Snyder’s visual storytelling. Experience the dramatic power of Twilight of the Gods through this visionary soundtrack, a must-listen for fans of epic film music.

Holy Beat! - A collection of 60's Italian Christian beat from the vaults of Ariel Records. Nine tracks from three amazing Italian bands, Angel and the Brains, I Barritas & The Bumpers. Originally released as La Messa dei Giovanni in 1966 and recorded live the same year, this record has been the stuff of legend for deep cut Pop connoisseurs and 60's Beat archeologists, a beautiful and mesmerizing gem that goes way beyond the Christian novelty. Presenting here three amazing Italian bands (Angel and the Brains, I Barritas & The Bumpers), this is not just a Christian pop record, this is a collection of beautifully crafted Italian 60's Beat that will blow the mind of anyone remotely interested in 60's music, a must!

Elvis, Franck Sinatra, Dean Martin... They are all there, the greatest crooners ever singing the most popular Christmas songs. 16 timeless songs on a nice picture disc vinyl for the best Christmas atmosphere you could dream of

Eine musikalische Reise entlang der DonauDas neue Album "Donau" von Florian Christl ist eine musikalische Reise von der Quelle bis zur Mündung des zehn Länder verbindenden Flusses in zwölf neuen, atmosphärischen Kompositionen. Für diese ließ sich der Pianist und Komponist von der anmutigen Schönheit der Natur und den unterschiedlichen musikalischen Traditionen der prunkvollen Städte und Regionen entlang der Donau inspirieren. Mit unterschiedlichen Besetzungen erkundet Florian Christl Orte wie Wien, Budapest oder das Donau Delta und nimmt jeweils ein lokales musikalisches oder klangmalerisches Element in seine Kompositionen auf. Es begleiten ihn das traditionelle bayerische Volksmusikensemble "Seeger Saitenmusik", der Akkordeonist Vladislav Cojocaru, die Geigerin Kristina Šuklar, die Cellist*Innen Raphaela Gromes und Alik Lysiùk, ehemalige Mitglieder des Odessa Opernorchesters, die in einem Streicherensemble und als Solisten mitwirken, sowie Florian Christls festes Ensemble, mit dem er das Album auch live auf der Release-Tour spielen wird.Schon als Kind faszinierte es Florian Christl, wie das Wasser der Vils, die durch seine Heimatstadt Amberg fließt, seinen Weg ins weitentfernte Meer finden konnte. Es ist die Donau, die den kleinen Fluss mit dem weit im Osten gelegenen Schwarzen Meer verbindet. Auf dem 2.857 Kilometer langen Weg von ihrer Quelle im Schwarzwald bis zur Mündung in der Nähe der ukrainischen Hafenstadt Odessa, durchquert die Donau halb Europa und kulturelle Zentren wie Wien, Bratislava, Budapest oder den Großraum Bukarest. Deren Austausch hat sie als wichtiger Reiseweg wortwörtlich befördert und die Entwicklung eines gemeinsamen kulturellen Erbes Europas mit all seiner Vielgestaltigkeit - wie etwa in der Musik - gefördert.Der Beginn des Krieges in der Ukraine ruft in Florian Christl schlagartig das Gefühl der Verbundenheit hervor. Inspiriert von der Programmmusik der Romantik - insbesondere Smetanas "Moldau" - reifte in ihm die Idee, die "Donau" auf einem Konzeptalbum zu vertonen, um ein Zeichen für den Frieden in Europa zu setzen."Der Gedanke, wie uns die Donau alle direkt mit der Ukraine verbindet, ließ mich nicht mehr los. Der Fluss symbolisiert eine wechselvolle, tragische Geschichte von Flucht, Vertreibung und Invasion in Europa, aber auch von einem beständigen Austausch, der doch die europäische Kultur erst erschaffen hat, wie man in der europäischen Kunstmusik deutlich sehen kann," erklärt Florian Christl.Mit dieser Idee begann der Komponist eine umfassende Recherche über die Donau, die Städte, Regionen und artenreichen Naturräume, die sie verbindet. Eine Reise auf dem Fluss führte ihn bis zum Donau-Delta. Dort markiert die Donau die Grenze zwischen einem Europa in Frieden mit Rumänien an einem Ufer und der Ukraine im Krieg am anderen Ufer. Florian Christl beschreibt die Situation:"Es war surreal und traurig. Der Kontrast zwischen der unglaublich schönen Natur und dem Wissen, um die Schrecken des Krieges, die hier nur wenige Kilometer entfernt sind."Der Entstehungsprozess des Albums zog sich über mehr als zwei Jahre hin. Nach den ersten Aufnahmen erlitt Florian Christl im September 2023 einen Herzinfarkt, der ihn für mehrere Wochen aus dem Leben katapultierte und bis heute nachwirkt. Eine Erfahrung, die ihn dazu brachte, neu darüber nachzudenken, was im Leben wirklich wichtig ist: "Im Alltag verlieren wir oft den Blick dafür, was wirklich zählt: Die Momente mit den Menschen, die uns wirklich wichtig sind, mögen sie noch so knapp und beiläufig erscheinen. Wir verwenden so viel Energie darauf, nach scheinbar bleibendem materiellem Einfluss, Reichtum oder Land zu streben. Wir sollten viel mehr Zeit darauf verwenden, diese, unsere Reise miteinander zu genießen."