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Imagination Lady is the fifth long-player for Stan Webb's Chicken Shack and was originally released in 1972.

Much in the same tradition as the great British bluesmen Alexis Corner and John Mayall, Webb's revolving-door personnel landed the band several notable members. For this album, Webb (guitar/vocals) gathered a trio consisting of himself, future Gods and Jethro Tull member John Glascock (bass), and Paul Hancox (drums). As with the previous Chicken Shack long-players, this disc features several Webb originals augmented with some well-chosen cover tunes.

The album opens with a ferocious cover of B.B. King's "Crying Won't Help You." In a style akin to the Faces or even some of the rowdier moments from the Peter Green-led Fleetwood Mac, this trio grinds out the blues with a decidedly English edge, followes by the folkie "If I Were a Carpenter". "Daughter of the Hillside" & is Webb's most impressive contribution to the album. This straight-ahead rocker is an ideal trio effort recalling the intense instrumentality of Cream or early Led Zeppelin. The closing number "The Loser" is upbeat and almost pop-oriented, again displaying the immense strength of this Chicken Shack line up.

Imagination Lady is available as limited numbered edition of 1000 copies on red vinyl and comes in a gatefold sleeve.

Red w/black splatter vinyl "You're Weak And You Know You're Weak" is the seventh album from WEREWOLVES in seven years. The band themselves have sworn to release ten albums in ten years, or commit group suicide if they fail. Ridiculously brutal moronic caveman death metal from members of PSYCROPTIC, THE BERZERKER, ABRAMELIN, THE ANTICHRIST IMPERIUM, and THE AMENTA.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

2026 Repress

Tapper Zukie was high on a list of artists that Richard Branson in 1978 had in mind to sign to his new Reggae label Front Line.
The mission was to sign the cream of the reggae crop when the Virgin record boss went down to Jamaica with a group of Reggae minded people,included in that group was one Johnny Rotten,singer of the very recently disbanded group The Sex Pistols.
The result of which would be a two album deal between Tapper and the label.
The first release also in 1978 was the album Peace in the Ghetto(Kingston Sounds KS052) and this release Tapper Roots.
For the cd issue of this release,Tapper has picked two tracks that he feels hapy to put alongside the album.
'Make Faith' cut with the band Knowledge and' New Star'..
This is a very important album from the Tapper Zukie catalogue...Respect

At its heart, this is truly a classic love story...

Musician, songwriter, and entertainer George Butts has always worked in the spirit of independence and love.

Beginning his musical journey on the East Coast, George spent his formative years playing in bands before eventually making his way to Southern California, ready to step out and pursue his own musical vision.

It was here that music and fate would meet, leading him to something equally important: Kathie, the woman who would become his lifelong partner- personally, professionally, and creatively.

Together, they embraced that same independent spirit and began building something of their own. In the mid-1980s, they established K-Star Productions, a label that became the home for George’s music and marked the beginning of a new chapter in their lives.

In 1986, that journey produced “I Love You So Much,” a song title that feels especially fitting once you learn the story behind it. Written as a dedication to their newly formed relationship, the song carries a sense of warmth that somehow feels familiar to us all. Built around the distinctive sound of a Linn drum machine, layered with lush synths and George’s unmistakable horn melodies, the record radiates heartfelt affirmations of love, capturing not only the spirit of independent ’80s Modern Soul, but the energy of two young hearts coming together and dancing in rhythm.

The record would soon become a dancefloor favorite among local DJs and clubgoers alike. But what began in Southern California would carry George much farther than they could have imagined. The success of the music helped establish him as a respected musician and entertainer, leading to performances and residencies throughout the 1980s and ’90s, from lounges along California’s golden coast to stages as far away as Japan.

Nearly four decades later, these recordings have been lovingly remastered from the original source material by Ron Leeper, the original recording engineer, allowing the warmth and spirit of the music to shine once again.

But this is more than the reissue of a rare independent record.
These classic songs evoke feelings of love and unity, filled with warm melodies, soulful grooves, and an undeniable sense of joy, all brought to life through the partnership of George and Kathie.

Together, they created their own label, followed their dreams, and lived life on their own terms- proving just how far a shared vision can take you.

Today, the music carries that same spirit: heartfelt, uplifting, and alive with the optimism of two people creating something they truly believed in. What they started with K-Star Productions helped launch a musical legacy that would take them around the world and back, a journey that continues today with George still performing live.

,Sharp Pins" ist das äußerst starke Lo-Fi-Pop-Projekt des talentierten Musikers Kai Slater aus Chicago, bekannt von Lifeguard und Dwaal Troupe. Aufgenommen von Kai Slater. Abgemischt von Kai Slater. Gemastert von Amy Dragon. Aufgenommen im Stülo Gulo in Chicago, Illinois. Ursprünglich als Hallogallo-Kassette im Eigenverlag veröffentlicht. ,Youth Revolution Now". Von Kai: ,Der Soundtrack zu meinem 18. Sommer, in dem ich mit einem chinesischen Taotao 50-ccm-Roller durch die Gegend um die Taqueria Moran fuhr und meinen Sta-Prest-Träumen nachjagte. Ich dachte, es wäre cool, eine Reihe von Songs aufzunehmen, die nie wirklich aufgenommen wurden, und zwar auf eine etwas durchdachtere Art und Weise. Aufgenommen auf einem Tascam Porta One im alten Beton-Stulogulo mit einer imaginären Band namens ,Men in Green Striped Trousers". Der ursprüngliche, von Sharp Pins geprägte Garage-Pop-Sound in seiner ganzen rohen, rauen und kreischenden Pracht _ Ich glaube, ich habe davon etwa 50 Exemplare angefertigt. Nun gehört mein Teenagertraum Ihnen.".

Der Frontmann von Goblin Cock, Lord Phallus, ist eine in einen Umhang gehüllte Nicht-Präsenz in einer Band aus ebenso vagen Persönlichkeiten, die bewusst nebulös gehalten sind; doch während ihre zahlreichen Nachahmer dies als Vorwand nutzen, um eine kommerziell verwertbare Geschichte zu vertiefen, wünschen sich die Mitglieder von Goblin Cock tatsächlich , ignoriert zu werden. ,Traumanaut" ist die neueste LP des Projekts und klingt wie ein unerwartet frischer Lufthauch, insbesondere ausgerechnet aus einem solchen Sumpf der Neurose wie diesem. Zeitweise klingt sie so persönlich, dass jeder normale Songwriter wohl bis zum Absurden gehen würde, um sich von dieser Ehrlichkeit zu distanzieren.

,Do to the Beast" war bei seiner Veröffentlichung das erste neue Album der Afghan Whigs seit über anderthalb Jahrzehnten. Die 1988 in Cincinnati, Ohio, gegründete Band hebt sich seit jeher deutlich von ihren Mitstreitern ab - durch ihre wilde, mitreißende Mischung aus Hardrock, klassischem Soul und den eindringlichen Obsessionen ihres Frontmanns Greg Dulli. Das Album war sowohl eine Art Heimkehr - es markierte ihre damalige Rückkehr zu Sub Pop, für das die Whigs der erste Neuzugang außerhalb der nordwestlichen Heimat des Labels waren - als auch ein Blick in die Zukunft einer der meistgefeierten Bands der letzten dreißig Jahre. Doppel-LP, gepresst auf ,Pearl Flip"-/,Lagoon"-Vinyl!

Einerseits ist ,In Spades" so typisch für die Afghan Whigs wie kaum ein anderes Werk der Band - und wird damit ihrem ursprünglichen Anspruch gerecht, die fehlende Verbindung zwischen dem heulenden Punk des Mittleren Westens à la Die Kreuzen und Hüsker Dü, den psychedelischen Soul-Symphonien der Temptations und den weitläufigen Hardrock-Klangerlebnissen von Led Zeppelin und Lynyrd Skynyrd zu erkunden. Gleichzeitig geht dieses Album weit über alles hinaus, was das bisherige Repertoire der Whigs zu bieten hatte - ein weiteres Markenzeichen, ebenso wie die explosive Gruppendynamik, die auf der Aufnahme eingefangen wurde. Klapphülle mit maßgefertigter Schutzhülle. Gepresst auf kristallklarem Vinyl!

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

The first release on Edition Hawara's new sublabel Hawara International is a record that leaves little room for ambiguity about its intended use. Produced by Takashi Shima of the band Piper and released as part of the Sun Tan Club series, "For Light Tanning" was designed to accompany the pursuit of the perfect summer tan. It came complete with tanning instructions and oil recommendations, and was the subject of a promotional partnership with Hawaiian Tropic. The music drifts between ambient, new age and lifestyle soundtrack genres, providing an elegant backdrop for beaches, pool parties and other seasonal activities. Having long been forgotten outside a small circle of collectors, the record now returns as an unusually thorough document of late-1980s leisure culture. Whether it actually improves the tanning process remains unverified.

Sviatoslav Richter war einer der größten Pianisten des 20. Jahrhunderts und viele seine Aufnahmen gelten als legendär. Besonders die in den Jahren 1970 und 1973 für das Label Eurodisc entstandenen Einspielungen des "Wohltemperierten Klaviers BWV 846 - 893" gelten als Referenzaufnahmen dieses Werkes. Die limitierte 6 Vinyl-Edition auf 180 Gramm Vinlys wurde von den originalen Bändern remastert und enthält ein 20 seitiges großformatiges Booklet mit dem Booklettext und den Bildern der ursprünglichen LP-Veröffentlichung.

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

Dieses Reissue würdigt das 50-jährige Jubiläum eines der wegweisenden Alben des Heavy Metal. Original-Master von 1976, Half-Speed-Mastering, farbiges Vinyl, Original-Artwork, ursprüngliche gewünschte Tracklist. Diese zum 50. Jubiläum erscheinende Ausgabe von Sad Wings of Destiny wurde von den analogen Original-Masterbändern aus dem Jahr 1976 restauriert und stellt die definitive Version des Albums dar. Das ursprünglich 1976 veröffentlichte Album gilt als eines der einflussreichsten Alben in der Geschichte des Heavy Metal und prägte das Genre maßgeblich mit Klassikern wie "Victim of Changes", "The Ripper" und "Tyrant". Die in Zusammenarbeit mit Judas Priest entstandene Ausgabe wurde im Half-Speed-Mastering-Verfahren speziell für Vinyl bearbeitet. Dieses Verfahren bewahrt die Kraft und den Dynamikumfang der analogen Aufnahmen und sorgt zugleich für außergewöhnliche Klarheit und Tiefe. Die Wiedergabe erfolgt in der von der Band vorgesehenen Reihenfolge, beginnend mit "Prelude", wodurch das ursprüngliche Hörerlebnis wiederhergestellt wird. Die LP kommt dabei im ikonischen original Artwork als Galaxy Yellow/Orange Mix Vinyl, auch als klasse klingende CD wieder erhältlich. "Sad Wings of Destiny, ...simultaneously took heavy metal to new depths of darkness and new heights of technical precision. [...] Three songs rank as all-time metal classics, starting with the epic "Victim of Changes," which is blessed with an indelible main riff, a star-making vocal turn from Halford, explosive guitar work, and a tight focus that belies its nearly eight-minute length. "The Ripper" and "Tyrant," with their driving guitar riffs and concise construction, are the first seeds of what would flower into the New Wave of British Heavy Metal movement." -

John Coffey built a reputation as one of the most explosive live bands in Europe - even becoming an internet sensation with the legendary “beer catch”. From Graspop to Sziget, Wacken to Pinkpop, Vainstream to Jera On Air, 2000trees and Hurricane/Southside - the Dutch group has played several of the biggest festivals, sold out the Melkweg in Amsterdam and even launched their own punk rock festival - Coffey Fest - to celebrate community and uncompromising music. Never shying away from the world around them, John Coffey actively uses their platform to speak out on social justice and political urgency. The new studio album "Not Alone" is about the power of connection. About discovering that there are other people who feel what you feel. Whether you find that connection through a partner, a friend, a helpline, or a room full of people feeling the same music. Talking helps. Singing helps. Screaming along helps. Armed with new music, a fierce activist ethos, and upcoming European tour dates, the band proves that engagement and heavy rock ’n roll are a perfect match.

Clara is the lead singer of Dakka Skanks, a Ska Punk band based in Brighton UK. Here she delivers two incredible new versions of Reggae classics from Brown Sugar & Rita Marley.

"I really like Clara’s voice, & this is the first of a series of releases from her on Soulside Productions. She is like my little sister; a strong woman who effortlessly captures the sound of the classic female vocalists from 60s & 70s Reggae" Marv Mack, Soulside Productions

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

,Es ist ein Bedroom-Album, das sich aber gar nicht wie eins anfühlt", sagt Glenn Morrow, Gründer von Bar/None Records, über ,Reseda Spleen", das lange verschollene Album von Ventilator aus dem Jahr 1996. Nach Jahren bei Permanent Green Light wurde Matt Devine klar, dass er weiterziehen musste. Devine stürzte sich kopfüber in sein neues musikalisches Kapitel: mit Earle Mankey als seinem musikalischen Mentor, Todd Rundgrens Klassiker ,Something/Anything" aus dem Jahr 1972 als konzeptionelle Inspiration und einem gebrauchten Tascam 388 - gekauft von einem Stuntman bei ,Mighty Morphin Power Rangers" -, den er in seiner Wohnung in North Hollywood aufstellte. ,Reseda Spleen" hätte bei Liebhabern von lautem, gitarrenlastigem Pop eigentlich Anklang finden müssen. Leider blieb die Existenz des Albums, wie bei so vielen Indie-Veröffentlichungen davor und danach, so gut wie unbemerkt - abgesehen von zwei begeisterten Kritiken (von ,The Big Takeover" und ,TapeOp"), die erst lange nach dem Verschwinden von ,Reseda Spleen" aus der Szene erschienen. ,Es ist so ein zeitloses Album", sagt Rob Zabrecky Possum Dixon. ,Es hat nicht diesen schrecklichen Glanz, mit dem damals so viele Bands überzogen wurden, und Matt hat nicht versucht, seine Gitarre wie Nirvana klingen zu lassen oder den Lo-Fi-Weg wie Pavement einzuschlagen; er war so im Reinen mit sich selbst und seiner Vision, dass ihn all das nicht beeinflusst hat. Es ist einfach so schön, dass diese Songs wieder herauskommen, denn ich glaube, die Leute müssen sie hören."

Das 1982 aufgenommene (aber erst 1986 veröffentlichte) Album *Jealous* war John Lee Hookers erstes
Album mit neuem Material seit Jahren und leitete ein Comeback ein, das drei Jahre später in dem mit
einem Grammy ausgezeichneten Album *The Healer* gipfelten sollte.
Im Gegensatz zu der Vielzahl an Gaststars, die auf den meisten Alben seiner späten Schaffensphase zu
hören waren, präsentiert sich *Jealous* als schnörkellose, erdige Produktion von Hookers eingespielter
Band. Das Album, das neu interpretierte, weniger bekannte Stücke aus seinem frühen Repertoire enthielt,
wurde schließlich mit einem W.C. Handy Award ausgezeichnet und für einen Grammy nominiert.

Greta Van Fleets fünftes Studioalbum „Palace For The People“ ist als Vinyl und CD erhältlich.
Die US-amerikanische Rockband Greta Van Fleet aus Michigan wurde 2012 von den drei Brüdern Joshua,
Jacob und Samuel Kiszka sowie dem Schlagzeuger Kyle Hauck gegründet und verzeichnet seitdem große
internationale Erfolge - darunter einen Grammy Award, drei Detroit Music Awards und einen iHeartRadio
Music Award.
Alle vier bisherigen Alben der Band erreichten die deutschen Charts. Ihre drei letzten Veröffentlichungen -
inklusive das 2023 erschienene „Starcatcher“ - sogar die Top3.

Nachdem der Pianist Ahmad Jamal zwischen 1968 und 1971 mit seinen langjährigen Trio-Partnern Jamil
Nasser (Bass) und Frank Gant (Schlagzeug) vier exzellente Alben für Impulse! Records eingespielt hatte,
wagte er 1973 bei dem Label 20th Century Records einen Abstecher in für ihn ungewohnte musikalische
Gefilde. Begleitet von einem Orchester mit Streichern und Stimmen ist Ahmad Jamal hier mit Versionen
damals aktueller Hits von Stevie Wonder und der Band War sowie mit Spiritual-Jazz- und Funk-Stücken
zu hören. Das ausgefallene Album ”Ahmad Jamal ’73” produzierte der Pianist, der hier auch erstmals am
E-Piano zu hören ist, zusammen mit Arrangeur und Komponist Richard Evans, der durch seine Arbeiten
mit u. a. Ramsey Lewis, Dorothy Ashby, Terry Callier und Marlena Shaw bekannt wurde.

Bachs h-Moll-Messe (BWV 232) ist seine einzige vollständige lateinische Messe. Sie entstand in den letzten Jahren seines Lebens und vereint neu komponierte Sätze mit überarbeiteten früheren Sätzen zu einer
musikalischen Synthese seines Schaffens, die einen Höhepunkt der Barockmusik darstellt.
Karl Richters Aufnahme von 1961 mit dem Münchener Bach-Chor und dem Münchener Bach-Orchester
gilt bis heute als legendäre Referenzaufnahme. Sie besticht durch ihren geschlossenen Klang, ihre klare
Interpretation und ihre herausragenden Solisten.
Um die bestmögliche Klangqualität zu erzielen, wurden die Aufnahmen neu gemastert und erstmals rein
analog von den originalen Zweispur-Bändern geschnitten.
Die audiophile Vinyl-Reihe „The Original Source“ präsentiert herausragende Aufnahmen in einer völlig
neuen Klangqualität. Dazu haben die renommierten Emil-Berliner-Studios die originalen Mehrspurbänder
in 100 % analoger Qualität (AAA) unter Verwendung von Technologien, die speziell für die Produktion
dieser Reihe entwickelt wurden, neu gemastert und geschnitten.
Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: größere Klarheit, mehr
Feinheiten und Verbesserungen im Frequenzgang bei gleichzeitig weniger Hintergrundrauschen, Verzerrungen und Kompression ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.
Diese limitierte und nummerierte Auflage erscheint auf 180-g-Vinyl in einem luxuriösen 3-LP-Box-Set und
enthält zusätzliche Fotos sowie Faksimiles der ursprünglichen Aufnahmeprotokolle und Bandkartons.

„Guitar Heroes: The Decca Years 1965–1967“ fängt den Moment ein, in dem John Mayalls „The Bluesbreakers“ zur Talentschmiede für eine ganze Generation legendärer Gitarristen wurden.
Anhand von vier wegweisenden Alben – von der rohen Live-Energie von „Klooks Kleek“ bis hin zum
bahnbrechenden „Blues Breakers with Eric Clapton“ – dokumentiert dieses Set die Geburt des britischen
Blues-Rock.
Mit Eric Clapton (Cream), Peter Green (Fleetwood Mac) und Mick Taylor (The Rolling Stones) legten
diese Aufnahmen den Grundstein für einige der bedeutendsten Bands der Rockgeschichte.
Das Paket enthält einen neuen, ausführlichen Essay, der die Abstammungslinie dieser Gitarristen und ihren
Einfluss dokumentiert, sowie einen visuellen Stammbaum, der ihren Werdegang bei Cream, Fleetwood Mac
und den Rolling Stones nachzeichnet.
Die Vinyl-Edition wurde in den Abbey Road Studios nach dem AAA-Verfahren (vollständig analog) von den
originalen Decca-Masterbändern geschnitten, wodurch die volle Dynamik, der Klang und die Authentizität
der Originalaufnahmen erhalten bleiben.

Meet Matas Petrikas, a music producer, DJ, and book author with a passion for electronic music. Born in Lithuania during the time when it was still a part of the Soviet Union, Matas began experimenting with electronic sounds during his teenage years using self-built instruments and recording equipment. In 1991, Matas took a trip to Berlin that would change his life forever. There, he encountered the early years of techno culture, which led him to co-found EXEM, one of the first house and techno bands in the former Soviet space. With EXEM, Matas was one of the pioneers of electronic dance music in Lithuania, and by the end of the decade, they had charted numerous hits. They performed live shows ranging from intimate clubs to massive arenas, sewing the seeds of the local electronic music scene. Since then he relocated to Berlin and has forged a musical solo career focused on live-sets, experimentation, and authoring the book 'The Joy of Electronic Music'. The Unknown is Matas’ first release on his newly formed imprint Dangė Records, focused on supporting electronic music from Lithuania and the Baltics. The 6 track EP forges his love for texture heavy hypnotic techno with industrial and warehouse leaning low end and percussion. Although mainly an EP rooted in driving a groove, the use of earworm worthy basslines, rave breaky drums, and squelchy lead synths is where Matas’ long career foray into many genres of electronic music shines through. Dangė Records releases electronic music from Lithuania and the Baltics—sounds that emerge from underwater, carried by artists who inherited the weight of transformation.

Pyromancy is the debut album from Furii (pronounced Fury) which is
the alias of Adrien Rodes AKA Topo Gigio and long-time member of Tim Smith’s
Spratley’s and sometime musician in Cardiacs’ live band.

THE EPIC NEW STUDIO ALBUM FROM THE LONG-STANDING JAPANESE METAL PIONEERS, INCLUDING GUEST APPEARANCE FROM OPETH'S MIKAEL AKERFELDT - PRESENTED ON DIGIPACK CD & VINYL LPJapanese metal pioneers Sigh formed in 1989/1990 Their genre- classic Black Metal debut 'Scorn Defeat' arrived in 1993, & with a subsequent journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & ideas throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed on the 2022 album (& first for Peaceville Records), 'Shiki'. This was followed by the remaking of their 'Hangman's Hymn' album as part of the band's 35th anniversary celebrations, in the shape of 'I Saw The World's End: Hangman's Hymn MMXXV' (2025).

Recently unveiled Norwegian Heavy Metal act Avrak was founded in 2023 by guitarists Anders Hegna & Ted Skjellum; himself notable for being half of legendary duo, Darkthrone. The pair had known each other for many years, & with a mutual passion for old, classic rock & metal they finally embarked upon this new journey together under the banner of Avrak.

Ted had declared from the beginning that he would in fact not carry out main vocal duties in the band, & so Anders - with his own voice befitting of the style - took on this task.

Still quite early on within the formative stages, Terje Kråbøl was brought in on the drums &, from there-on, with his percussive presence backing up some thunderous riffing, the creative work accelerated until enough material was produced (and relentlessly refined), culminating in the self-titled, hook-laden & doom-laced rock debut, ‘Avrak’.

Suitably & epically defined as a monumental “Heavy Metal voyage from the peak of the mountains to the depths of the seas”, & delivering themes relating to empowerment in the face of increasingly corrupt times, ‘Avrak’ is a combination of a vast multitude of influences, as the eclectic, deceptively nuanced nine track offering features a classic heavy metal & doom rock backbone, with further experimentation including synth passages, & even some traces of black metal riffing in its DNA.

Avrak subsequently held its debut show in their local town of Porsgrunn in late April 2026, backed by the brand new bassist & final piece of the puzzle, Steinar Gundersen, with more live shows intended in future to support the release.

This edition of ‘Avrak’ is presented on limited silver vinyl, including printed inner sleeve with full lyrics.

Recently unveiled Norwegian Heavy Metal act Avrak was founded in 2023 by guitarists Anders Hegna & Ted Skjellum; himself notable for being half of legendary duo, Darkthrone. The pair had known each other for many years, & with a mutual passion for old, classic rock & metal they finally embarked upon this new journey together under the banner of Avrak.

Ted had declared from the beginning that he would in fact not carry out main vocal duties in the band, & so Anders - with his own voice befitting of the style - took on this task.

Still quite early on within the formative stages, Terje Kråbøl was brought in on the drums &, from there-on, with his percussive presence backing up some thunderous riffing, the creative work accelerated until enough material was produced (and relentlessly refined), culminating in the self-titled, hook-laden & doom-laced rock debut, ‘Avrak’.

Suitably & epically defined as a monumental “Heavy Metal voyage from the peak of the mountains to the depths of the seas”, & delivering themes relating to empowerment in the face of increasingly corrupt times, ‘Avrak’ is a combination of a vast multitude of influences, as the eclectic, deceptively nuanced nine track offering features a classic heavy metal & doom rock backbone, with further experimentation including synth passages, & even some traces of black metal riffing in its DNA.

Avrak subsequently held its debut show in their local town of Porsgrunn in late April 2026, backed by the brand new bassist & final piece of the puzzle, Steinar Gundersen, with more live shows intended in future to support the release.

This edition of ‘Avrak’ is presented on limited silver vinyl, including printed inner sleeve with full lyrics.

"Loving You To Death is very much about being with someone who is hurting you by hurting themself, knowing you should leave but that you can’t live without them. It’s mostly about one night, or one period of time? I don’t really know anymore, but maybe you can relate.

Before writing this I was obsessed with stretching out my little moody riffs into long drawn out ambient pieces, throwing them through the morphagene and seeing what happens. But there is just way too much sound design around me, everything is so slick and impressive and boring and unmemorable. So I tried to keep everything bare, to accept the recordings as they are and to do it without a band.

Long live mid-fi, dramatic relationships, obsessiveness, sing-song melodies and unprofessionalism, and huge thanks to Ariana, Matt, Adam, Yas, Nik, Victor, Ouri, Ziggy, my mom, Alan, and everyone else I drove crazy while making this.

- Richard"

After the sell-out sensation of the album 'Soul Drums’, the Steve White Trio return with a special 7” single, as they take on Deep Purple’s ‘Mandrake Root’. A fitting tribute to Jon Lord, with a Hammond-heavy groove, White shows his range and power from behind the kit. It is backed by the original ‘Sunburn’, written by Joel White and Chris Hague, who complete the brilliant Trio.

’Soul Drums’ was the inaugural release in the new Acid Jazz Jazz Sessions series earlier this year and, remarkably, the first album bearing the name Steve White. After a storied session career and long association with Paul Weller, as a member of the Style Council and as the heartbeat of Weller’s solo band on ‘Wildwood', 'Stanley Road', 'Heavy Soul’ and ‘As Is Now’, the Trio sees Steve return to his jazz and filmic influences, with a true modernist touch.

The 7” release coincides with a special appearance at the 100 Club on 17 September.

Berlin-based edit specialist Voodoocuts knows exactly how to tease out the best bits of any of the source tunes he works with. He's been doing it for years now on labels like Juice on Wax and Uluru, and now heads to Ritmo for his latest 7" bomb. 'Riddim Freak' gets this one going with a reggaeton rework of a Missy Elliott classic. It's an inspired pairing that has elastic bass and trampoline-like kicks with rave horns, fat-assed brass band energy and plenty of that original Missy attitude. 'Work This' takes another of the rap queens' most welcome jams and flips and reverses it into an early electro and hip-hop blend with old school drums and many magnificent samples all bringing it to life in full colour.

In celebration of the 40th anniversary of Talk Talk's iconic "It's My Life" album, it has been cut at Half-Speed by Matt Colton at Metropolis Studios, overseen by Talk Talk drummer Lee Harris and Charlie Hollis, son of Mark Hollis, giving the album a greater depth. Originally released in February 1984, "It's My Life" is the band' second album and followed the 1982 release of their debut "The Party's Over" which initially received moderate success in the UK reaching number 21 in the UK chart and finding some global success.

By the time they came to writin and recording "It's My Life" the band had gone from the four piece to a three with Simon Brenner leaving the band. The album initally found considerable international success. "Such A Shame", the album's first single was a top 10 hit across Europe and the album's title track entered global Top 40's including in the US.

East London based quintet IAN bring a sense of jovial camaraderie through their heavy, loud and droning post-rock dirges on debut album 'Come On Everybody, Let’s Do Nothing!' through UK charitable label Human Worth.

IAN (the band) are refreshing newcomers in the UK's heavy underground. The East London based quintet will be releasing their stirring debut album Come On Everybody, Let's Do Nothing! on Vinyl and Digital via independent label Human Worth on October 17th – a labour of love between five old friends and ex-bandmates from Exeter’s fertile early '00s DIY punk scene.

Self-described as "a band that appreciates the peaks and troughs of post-rock as much as the crunch of the riff," IAN's striking debut delivers five dirges that merge earth swallowing riffs with the atmospheres and dynamics of their post-rock heroes, such as Godspeed You! Black Emperor, with the bite and visceral heft of Cult Of Luna and Amenra. Thoughtfully captured by Wayne Adams (Petbrick, Big Lad) at his London based Bear Bites Horse studio, IAN craft slowly mounting riffs, with anguished screams, woven with elegant cello playing, field recordings and earthy timbres. Come On Everybody Let’s Do Nothing!, and the band IAN as a whole, is the culmination of 25 years of musical comradeship and the need to find inspiration in films, noise and the drudgery of middle-aged life.

Rising UK independent label Human Worth have pressed up a limited run of Eco Mix Vinyl, housed in a stunning sleeve designed by guitarist Craig Murray, with a very small batch of Bandcamp Exclusive Signed Prints. 10% of all profits will be donated to charity Mermaids – supporting trans, non-binary and gender-diverse children, young people and their families since 1995.

"A harsh mix of post-rock aggression and dark ambience. As jovial as they were incredible." ~ The Sleeping Shaman

Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.

Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.

A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.

Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.

Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.

With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.

Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.

Atone the mystery.

The Easy Way Out is the first proper release from London's THE EASY EIGHT, sometimes shortened to just EZ8, because why the hell not?
They might be a new band, but feature familiar faces from a some of the best London hardcore punk bands of the last ten years, including THE CHISEL, ARMS RACE, STINGRAY and LAST AFFRONT to name a few. This time around they are going for a more melodic approach. Think of the more melancholic moments of the 80's RAMONES records with a touch of MISFITS and you're on the right track.
This LP compiles the first two recording sessions. Side A features the first session, originally released online last autumn while Side B is rounded out with four brand new songs. It's a great snapshot of the band finding and perfecting their sound during their first year and these songs are guaranteed to be stuck in your head for days.

Sonor Music Editions proudly presents "A TEMPO DI JAZZ" by Maestro Piero Umiliani. This lost gem captures the formative years of Modern Jazz in late 1950s Italy - alongside the legendary Basso-Valdambrini recordings in the early 1960s, as well as the early years of Piero Umiliani's long and prolific career as a composer with over 190 soundtracks, 40 library albums, and 35 TV title themes recorded.

A TEMPO DI JAZZ includes seven original compositions by Piero Umiliani recorded in 1959. Here, at the age of 33, he lays a perfect ground with himself as a pianist, accompanied by some of the best Italian soloists at the time: Marcello Boschi on alto saxophone and flute, Ivan Vandor on tenor saxophone, Peppe Carta on bass, and the American trombonist Bill Gilmore. With plenty of room for improvisation, the sextet fuses Big Band moods with West Coast experimentation of Latin American rhythms and Modern Jazz ballads that sit perfectly between his soundtracks for the films "I Soliti Ignoti" (Big Deal on Madonna Street) from the same year that attained him international recognition, and his masterpiece "Smog" (featuring Chet Baker and Helen Merrill) from 1962.

Five compositions are outtakes from Piero Umiliani's mega-rarity "Tempo Jazz", released on RCA Custom in 1960, while 'Tema In Blues' has been published on the two - impossible to obtain - 45 releases "Moderato Swing" (RCA Camden 45CP 112) and "Tema In Blues" (RCA Custom 45 R3) from 1960 as well as the previously unreleased track 'Mezza Cottura.'

The music has been transferred and remastered from the original master tapes and lacquer cut in MONO, preserving the original sound of the recordings.

Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.

For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.

Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.

The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.

Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.

"The third part of "The Nightstalker" Saga emerges from the depths of dystopia, the last part of a Childhood Intelligence original tale written/produced by Dan Piu & Gary Rich. After "The Tragedies Of A High-Tech World" (2020) and "Genetic Constitution" (2022), the final chapter "Flowers Of Agony" (2026) // Child 22 materializes through a 2x12 Lp. "Flowers Of Agony" presents yet another shade of the duo's analogue machine soul. Technoid brain dance electro from alien mysterious worlds. The album travels through various types of electro infused works, the live-arrangement dynamics and "The Nightstalker" Klangbild shines through each of the traxx, taking the listener through psychedelic cybernetic universes with strong techno force, bridging elements of the past works and taking them further into the future. Deep mind Influence intensifies the more listening time spent... This last chapter of a 3-Story Saga, is the essence, yet evolution of an analogue band, a 20 year friendship - the current zeitgeist & the partnership with Childhood Intelligence. For the future listener, we hope you might unravel the keys to this puzzle and find your own means to define and represent your true self in underground culture..."