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"The 1958 Miles Davis group wasn't a quintet but a sextet, with the addition of Julian ""Cannonball"" Adderley on alto sax to John Coltrane on tenor sax, Red GaIrTlaEndMoSn piaMnoA, YPaul NChOamTbersBoEn bass, Philly Joe Jones on drums, and Miles on trumpet. Milestones was the first studio album made by the sextet. It was recorded on February 4 and March 4, 1958, and the rhythm section was the same as the classic 1956 quintet.
THE COMPLETE ALBUM – 180-GRAM COLORED RED VINYL - LIMITED EDITION"

'In de verte, dit uitzicht’ is Abel Ghekiere's second album. It is a celebration of beauty and sudden bursts of euphoria and melancholy, hidden in the distinctive soft and fragile sound of Ghekiere's music. Much more personal than on his debut record, he calls out to the world.

Working with voice samples and field recordings, voice and improvisation take centre stage. Sounds from outside are subtly interwoven with instruments, while conversations and memories act as a thread running through the compositions. The music flows into the room, bringing with it remembered places and voices.

The music was recorded very nomadically, in different places, with different people. Most of the parts were written and played by Abel Ghekiere himself but with guest contributions from Vitja Pauwels, Nicolas Rombauts, Leo Adamov, & Jan de Vroede, among others, the record breaks open into a soft sound palette.

Soul Jazz Records journey into early 1990s ragga, drum & bass and jungle. The album features all-time classic jungle anthems such as General Levy’s ‘Incredible’ alongside some serious Ragga heavyweight tunes like Cutty Ranks ‘Limb By Limb’ and Congo Natty’s classic re-make of Barrington Levy’s Under Me Sensi’.
The renowned album tells the story of how Jungle developed out of acid house but with its roots in the UK Dancehall scene of the 1980s and comes with extensive sleevenotes, exclusive interviews and photography.

7x7" BOX

DJ Support: Walla P (Voyage Funktastique), Zackey Force Funk, Soul Clap.

Moniquea brings it back to the west coast streets that shaped her. 'Womp In My Spirit' is a direct ode to the California g-funk sound that has also inspired much of her previous output in the modern funk vein – This time it's just in the form of a rap song, co-produced by Moniquea herself & XL Middleton, who is also featured on the track.

The term Miao is a very ancient Chinese misleading pseudo-ethnic categorisation, what we call the Hmong in western languages, a term recognised by colonial French Indochina. Miao became a generic term which does not reveal the diversity of 38 subgroups or 9 million people, mostly in Southern China Guizhou Province.

China having moved towards the market economy, a large number of minority regions have marketed a commodity available only to them: their ethnicity itself. Ethnic tourism has developed in a big way in China since the 1990s for Chinese and foreign tourists, and is often promoted as the way to create income in those areas for development. I usually stay away from ethnotouristic shows and try to get music which is not a commodity! I was based in Dali, Yunnan, China between 2006 and 2013.

Genau genommen stammt die Idee zu Who Believes In Angels? von drei befreundeten Musiker:innen:
Neben Elton John und der 11-fachen GRAMMY-Gewinnerin Brandi Carlile aus dem US-Staat Washington
war auch der vielfach preisgekrönte US-Produzent und Songwriter Andrew Watt (zweifacher GRAMMYGewinner) von Anfang an am kreativen Prozess beteiligt. Ihre Vision war eine echte Zusammenarbeit: Sie
wollten einen Longplayer aufnehmen, der ein echtes Gemeinschaftsprojekt ist, der durch und durch auf den
Faktor Kollaboration setzt. Konkret schwebte ihnen ein Mix aus Stücken vor, bei denen mal Elton, mal
Brandi am Mikrofon den Ton angeben sollte, wobei die Songtexte sowohl von Brandi als auch von Eltons
angestammtem Kreativpartner Bernie Taupin stammen sollten. Als Produzent und Co-Songwriter kam
obendrein Andrew Watt ins Spiel, dem als kreatives Bindeglied und Vermittler eine zentrale Rolle zukam.
Schon im Oktober 2023 kamen sie alle in den Sunset Sound Studios in Los Angeles zusammen, und nach 20
Tagen war schließlich alles im Kasten. Unterstützung bekamen sie dabei von weiteren Weltklasse-Musikern
– u.a. von Chad Smith (Red Hot Chili Peppers), Pino Palladino (Nine Inch Nails, Gary Numan, David
Gilmour) und Josh Klinghoffer (Pearl Jam, Beck).
Erhältlich als CD I LP I CD Box (CD & DVD & Aufklappbare Box)

Das erste Livealbum von JOSH. wurde am 7. November 2024 in der mit 11.000 Besuchern vollen Wiener Stadthalle aufgenommen. Der Abend war nicht nur ein Heimspiel für den mehrfachen Amadeus-Preisträger sondern auch der Abschluß eines immens erfolgreichen Livejahres, das JOSH. und seine Band quer durch Österreich und Deutschland geführt hat. Unter den zehn Songs des Abends, die es hier zu hören gibt, sind nicht nur die großen Hits wie „Expresso & Tschianti“ oder „Cordula Grün“ zu hören sondern auch akustische Versionen von „Alles klingt nach Dir“, „Ring in der Hand“ und „Melodie verlorn“, bei denen JOSH. und Band von der Vienna Stringforce begleitet wurden. Diese Versionen gibt es hier erstmalig auch auf einem Album zu hören.

Genau genommen stammt die Idee zu Who Believes In Angels? von drei befreundeten Musiker:innen:
Neben Elton John und der 11-fachen GRAMMY-Gewinnerin Brandi Carlile aus dem US-Staat Washington
war auch der vielfach preisgekrönte US-Produzent und Songwriter Andrew Watt (zweifacher GRAMMYGewinner) von Anfang an am kreativen Prozess beteiligt. Ihre Vision war eine echte Zusammenarbeit: Sie
wollten einen Longplayer aufnehmen, der ein echtes Gemeinschaftsprojekt ist, der durch und durch auf den
Faktor Kollaboration setzt. Konkret schwebte ihnen ein Mix aus Stücken vor, bei denen mal Elton, mal
Brandi am Mikrofon den Ton angeben sollte, wobei die Songtexte sowohl von Brandi als auch von Eltons
angestammtem Kreativpartner Bernie Taupin stammen sollten. Als Produzent und Co-Songwriter kam
obendrein Andrew Watt ins Spiel, dem als kreatives Bindeglied und Vermittler eine zentrale Rolle zukam.
Schon im Oktober 2023 kamen sie alle in den Sunset Sound Studios in Los Angeles zusammen, und nach 20
Tagen war schließlich alles im Kasten. Unterstützung bekamen sie dabei von weiteren Weltklasse-Musikern
– u.a. von Chad Smith (Red Hot Chili Peppers), Pino Palladino (Nine Inch Nails, Gary Numan, David
Gilmour) und Josh Klinghoffer (Pearl Jam, Beck).
Erhältlich als CD I LP I CD Box (CD & DVD & Aufklappbare Box)

Ein fantastischer Live-Mitschnitt vom 8. November 1975 in Bremen von "Reedman" Gary Bartz mit seiner ultra-hippen NTU-Band, die man von ihren 1970er Klassikeralben bei Milestone kennt. Fast zwei Stunden Free & Spiritual Jazz. Limitierte Auflage auf 180g Black Double Vinyl im Gatefold. Erster Release des neuen Cinedelic-Sublabels Free Flow Archive.

On July 10th, 2019, POISON IDEA played their very last show in France. The setlist was chosen by friend, fan and birthday boy, Ed. 15 songs covering the band's entire history. At this point of the tour the band was as tight as a machine, and it shows.

We're thrilled to welcome DJ Merci with four powerful tracks on the label! These DJ Tools are the perfect sound for our limited series and to conquer the dancefloors.
On A1 we start In The Middle with exactly this club feeling and an evocative vocal that couldn't be more appropriate for these times.
A2 continues with some funky drum loops and a jazzy sax. We love it!
On the flip, B1 starts really smooth with deep chords combined with a conga groove and continues
on B2 with bouncing drums and deep minimal house.

VINYL COMES IN A HIGH-QUALITY SCREEN-PRINTED COVER!
LIMITED TO 200 COPIES!

Coinciding the cinema release of ‘Der Wald in mir’, the soundtrack by Gregor Schwellenbach is being released in an exclusive edition in high-quality screen-printed covers by director and artist Sebastian Fritzsch. Microtonal strings in dialogue with electronic sounds, noise music, drones and ambient, complemented by improvisations by experimental string wizards Emily Wittbrodt and Matthias Kaiser. These different worlds of sound are linked by melodic motifs that come together in the final end credits song. This closing track was created in collaboration with indie artist Jungstötter, 'a singer, whose intense aura I associate with the sensitivity and emotional depth of the main character Jan, just as I hear the strength and unflinching devotion of the character Alice in co-singer Isabelle Pabst.’ (Gregor Schwellenbach)
Pünktlich zum Kinostart von „Der Wald in mir“ erscheint der Soundtrack von Gregor Schwellenbach in einer exklusiven Schallplattenedition in hochwertigen Siebdruck-Covern von Regisseur und Künstler Sebastian Fritzsch. "Um Jans Innenwelt gerecht zu werden, wollten wir uns einer enormen musikalischen Vielfalt bedienen: Mikrotonale Streicher im Dialog mit elektronischen Klängen, Geräuschmusik, Drones und Ambient, ergänzt durch Improvisationen von Emily Wittbrodt und Matthias Kaiser, bis hin zu New Wave und zur Indiepop-Ballade. Diese verschiedenen Klangwelten werden durch melodische Motive verbunden, die im finalen Abspannsong zusammenfinden. Dieser Schlusstitel entstand in Zusammenarbeit mit Jungstötter, einem Künstler, dessen intensive Aura ich mit der Sensibilität und emotionaler Tiefe der Hauptfigur Jan verbinde, so wie ich in Co-Sängerin Isabelle Pabst die Stärke und unbeirrte Zugewandtheit der Figur Alice höre." (Gregor Schwellenbach)

Saracen's initial reign was in the late 70s and early 80s, which saw the release of their now legendary debut album “Heroes, Saints & Fools”. Some twenty years later, in 2003, they surprised & delighted fans with the release of Red Sky. Both albums, plus bonus tracks, featured in a special boxed set, with new artwork and mastering, released in January 2006 on the Escape Music label. The main focus of the signing, however, was Saracen's eagerly awaited release of their 2006 album – “Vox In Excelso”. “Vox In Excelso” is a concept album, based on the mysterious and controversial history of the Knights Templar – a medieval body of warrior monks, who grew to become one of the most powerful military & financial organizations in Europe. Their story goes far beyond battlefield exploits – the Knights Templar were guardians of Ancient Knowledge; secrets that had major implications for the nations and religions of the western world... secrets that are still cherished and protected even to this day. “Vox In Excelso” (pronounced Ex-chel-so) is laced with poignant narration, linking the tracks, and thereby helping the listener to navigate this turbulent yet touching epic story. The combination of original members, vocalist Steve Bettney and guitarist Rob Bendelow, new blood, former HELLOWEEN drummer Mark Cross amongst others, proved to be an exciting combination on this now classic album.

Bristol-based singer, songwriter and bandleader, who has powered her way to the-forefront of the British blues and roots scene in recent years, releases 'Shining In The Half Light on "Tidal Wave Splatter" colored vinyl. Crammed with vibrant originals brought to life with her A-list touring band, 'Shining in the Half Light' is Bailey's first full length album recorded in the UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon in December 2020 at Middle Farm Studios and produced by Dan Weller. An exciting team of co-writers feature with three credits for Ashton Tucker & Will Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the hugely successful indie-folk outfit Noah and the Whale, on the aforementioned 'Sunshine City'. The album comes to a striking conclusion with its title track, co-written with Nashville's Craig Lackey, written over Zoom in May 2020.

Das weltweit gefeierte, genreübergreifende Trio CHASE ATLANTIC veröffentlicht ihr viertes Studioalbum
„LOST IN HEAVEN“ am 28.03.2025 auf CD & LP.
LOST IN HEAVEN markiert ein weiteres Kapitel in der Entwicklung von CHASE ATLANTIC, eine klangliche
Reise, die Grenzen verschiebt und gleichzeitig die Kernelemente beibehält, die ihre globale Fangemeinde
in ihren Bann gezogen haben. Die Leadsingle ”DIE FOR ME “ sorgte sofort für Aufsehen und erreichte
innerhalb des ersten Monats über 17 Millionen Streams auf Spotify und 2,5 Millionen Views auf YouTube.
Der Nachfolgetrack DOUBT IT „ geht weiter in die Vollen und bietet einen frischen, süchtig machenden
Sound, der die Hörer gespannt auf das macht, was als nächstes kommt.
CHASE ATLANTIC sind bereit, erneut Grenzen zu überschreiten und tiefer in ihre eigene Welt der hypnotischen Melodien, Klangexperimente und epischen Live-Shows einzutauchen.
Der genreübergreifende Sound des Trios bleibt das Herzstück ihrer Anziehungskraft, da er sich mühelos
zwischen Pop, Rock und R&B bewegt und dabei eine magnetische, unvorhersehbare Energie beibehält, die
bei den unterschiedlichsten Zuhörern Anklang findet. CHASE ATLANTIC sind für ihre Fähigkeit bekannt,
sich zwischen verschiedenen Musikszenen zu bewegen. Die ausgedehnte Arena Tour findet 2025 statt &
führt die Band nach Berlin, Hamburg & Köln.

Experience two iconic pop anthems like never before—reimagined in smooth, feel-good reggae!

Side A: Justin Bieber's Baby gets a laid-back, island-style makeover, bringing fresh warmth to the beloved hit.

Side B: Miley Cyrus' Party in the U.S.A. transforms into a breezy reggae groove, perfect for any vibe.

This special 7-inch release delivers pure reggae magic, blending nostalgia with irresistible rhythms. A must-have for music lovers!

Zweite 7inch Auskopplung aus dem hervorragenden Thee Sacred Souls Album "Got A Story To Tell"! Das stimmungsvolle Mid-Tempo-Stück „My Heart is Drowning“ beginnt mit einem ahnungsvollen, echogetränkten Tröpfeln, das sich hinter der Geschichte des Sängers Josh Lae über eine verlassene Geliebte verbirgt, die aufgrund vergangener Fehler in Verzweiflung ertrinkt. Mit seinem grüblerischen Piano und der düsteren Bassline würde dieser Song in klassischen R&B- und Soul-Kreisen gleichermaßen gut ankommen. "Stuck in the Mud“ lehnt sich ebenfalls an einen früheren R&B-Sound an, jedoch mit einem subtilen Hauch von Gospel durch den Call-and-Response-Gesang, der diese wunderbare Komposition durchdringt. Soul Fans dürfen sich freuen!

The Jazz scene pays tribute to one of the greatest artist of all time. This time the IN JAZZ Collection focusses on Paul Mac Cartney with smooth jazz covers of some of the best titles composed by the great Macca !

1961 Recordings. Unreleased Jamaican R&B Vocal on the A. SIDE B is a nice up tempo Jamaican shuffle Instrumental.

BLACK/RED VINYL

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

"The great Nina Simone's style encompassed a broad range of musical genres including jazz, blues, folk, R&B, gospel, pop and classical music. This collection compiles some of her best performances, all of which were sounded hits. Included here are her perennial reading of George & Ira Gershwin's
""I Loves You Porgy"", which charted at #2 in the UK and #18 in the USA in 1959, along with ""Nobody Knows You When You're Down and Out"" (#23 in the UK; #93 in the USA in
1960), and ""Trouble in Mind"" (#11 in the UK; #92 in the USA in 1961). Also included is her perennial classic ""My Baby Just Cares for Me.""
16 TRACKS - 180-GRAM CRYSTAL CLEAR VINYL - LIMITED EDITION"

From the deepest trenches of deadstock 45s and the unsung annals of soft rock infamy, we present SR4HT02: (Till You're) Back In My Arms.

Universal Cave and the Street Road Band cover Dan Strimer with Insured Sound's cult anthem (Till You're) Back In My Arms which was originally released as a 45 in 1977 on Lost Nation Records out of Guysville, Ohio. When Universal Cave featured Back in My Arms on Soft Rock for Hard Times Vol 8 in 2023, we reached out to Dan Strimer to tell him how much we loved his record, and quickly made a friend who helped us release a cover of his song 47 years after it first came out. Dan is still making music to this day and there are even rumors of some unreleased recordings making their way out in the near future.

On vacation in Hawaii when we released Soft Rock for Hard Times Vol 8, Alex Tebbs Mitchell of Universal Cave kept coming back to Dan's catchy, rural classic rock tune. When Alex returned to Philadelphia, he assembled the Street Road Band to record a laid back, 'southwestern Balearic' cover version with André Ethier on vocals, Charles Simon on guitar, Jesse Spearhawk on Pedal Steel, Alex Tebbs Mitchell on Rhodes and bass, Ryan M. Todd on synthesizers, and Shawn Ryan and Brian Cassidy on additional programming and arrangement. The result is a blissful soft rock ballad inspired by the likes of Chris Rea and Mark Knopfler.

After recording the cover, we called in the UK's finest Balearic maestro's Coyote to take the multitracks to the White Isle and back for a remix worthy of Cafe Del Mar. Coyote send the song into a dreamy, dubby, deep house groove, confirming that the record is, in fact, Balearic.

Mixed by Alex Tebbs Mitchell
Mastered by Mat Leffler-Schulman

LOS TRES PUNTOS : the enthusiasm of ska and the rage of punk rock inherited from the 80s french alternative movement, combined for an explosive cocktail to wake the dead! Unbridled rhythm, relentless brass section, unifying songs in French and Spanish ; the band has scoured concert halls in France and abroad.

This "live in Mexico" was recorded in November 2023 in front of 60,000 people at the Skatex Festival in Mexico City, celebrating the 30th anniversary of the group.

14 Tracks taken from the best of their discography, played with the energy and experience of the Los Tres Puntos gang.

Four years after the release of his critically acclaimed third album, 'Out of the Darkness', Gizmo has been releasing new music in the run up to a fourth album due on March 21st 2025. This new music presents a compelling new chapter in Gizmo's career and reflect on a time of significant transformation both personal and professional. Gizmo has recently completed a UK/EU tour - 29 dates, across Balkan, Scandanavia, France, Germany, Switzerland, Spain, and UK and will go on another tour in Spring, with dates already announced for Edinburgh, Manchester, Cardiff and London (Jazz Café) in May 2025. Since Gizmo started releasing singles for the new album, his streaming has more than doubled. Going from 5 million streams a month to currently 11 million streams a month. His social media following has grown tenfold in the past 12 months. Gizmo has previously collaborated with artists such as Jack Savoretti, Pahua & more.

Ihr zehntes Studioalbum, Bird in Paradise, soll am 7. März 2025 veröffentlicht werden und enthält
den aktuellen Dancefloor-Füller „La Gracia“. „Als wir uns daran machten, das Album Bird in Paradise
aufzunehmen, wollten wir ein musikalisch reichhaltigeres Album als zuvor machen, das die Band instrumental wie nie zuvor in den Vordergrund stellt.“ „Musikalisch gesehen ist Bird in Paradise ein australisches,
Flamenco-, afrokubanisches Projekt. Wir haben uns an den Themen des zeitgenössischen Flamenco und der
kubanischen Musik orientiert und sie mit der Entschlossenheit und Härte der australischen Rockgeschichte
kombiniert.“

El Dorado ist ein Meilenstein der guten Laune und der wohltemperierten Gesinnung. Das Album hat sich seit der Erstveröffentlichung (2016) zu einem digitalen Dauerbrenner entwickelt. Mehr als 50 Millionen Streams im Jahr, über 5 Millionen pro Monat, 1 Million Listener im Monat, davon mit 250.000 die meisten in Deutschland. 60% Zuwachs in 2023. Dies ist eine Erfolgsgeschichte, die noch lange nicht zu Ende erzählt ist. Am 31.03.2025 veröffentlicht Gizmo sein neues Studioalbum 'The World In Colour'.

„El Dorado“ hat alles, was einen Albumklassiker auszeichnet: gute, prägnante Songs mit feinem Timing und noch besserem Spirit. El Dorado ist ein realer Ort. Es ist die Erde, auf der wir leben. „El Dorado“ könnte für unsere Zeit das werden, was „Clandestino“ von Manu Chao vor knapp zwanzig Jahren war – ein Meilenstein der guten Laune und der wohltemperierten Gesinnung.

BAG Records' long awaited return is led by Italian powerhouse Riccardo in his ‘In Space EP’. Delivering 4 dancefloor oriented tracks embodied by groove driven techno transmissions from deep space.

Their tenth studio album, Bird in Paradise, is set to be released next March 7, 2025 via BMG Australia and includes recent dance-floor filler ‘La Gracia’. "When we set out to make the album Bird in Paradise, we wanted to make a more musically rich album than we had before, which featured the band instrumentally like never before." - Ollie “Musically speaking, Bird in Paradise is an Australian - Flamenco, Afro-Cuban project. We've drawn from the themes of contemporary flamenco and Cuban music, and combined it with the grit, and toughness of Aussie rock history." – Felix. Available on: 1CDSoft Pack packaging. No Booklet. Standard Disc Artwork or 1LP Standard Sleeve. Inner Sleeve Component. Blue Wren Colour (Opaque). No booklet.

"Howlin' Wolf was one of the greatest characters and most electrifying performers in blues history. Presented here is his outstanding 1959 LP for Chess Records, Moanin' in the Moonlight. One of the all-time cornerstones of the genre, it contains several of his early hits: ""How Many More Years,"" ""Smokestack Lightning,"" ""Forty Four,"" and ""Evil.
THE COMPLETE ALBUM + 4 BONUS TRACKS - 180-GRAM CRYSTAL CLEAR VINYL - LIMITED EDITION"

Die besten Live-Alben versetzen einen direkt in die erste Reihe des Konzertsaals, und genau das schafft Johanson mit "Live In Mississippi". Vor ausgelassenem Publikum spielte er vor allem Tracks aus seinem aktuellem Nr. 1-Blues Album, gemischt mit älteren Songs und einer sagenhaften Version von "I Walk On Guilded Splinters". Wer nach dem irrwitzigen Solo des treffend betitelten letzten Songs, "Don’t Hold Back", nicht restlos begeistert ist … dem ist vermutlich nicht mehr zu helfen!

"This album was Duke Ellington and John Coltrane's only recorded encounter ever. For the occasion,Trane and Duke were accompanied by the bassist and drummer of their respective groups (who alternated from track to track), Aaron Bell and Sam Woodyard (from Duke’s rhythm section), and Jimmy Garrison and Elvin Jones (from Trane’s rhythm section). ""I was really honored to have the opportunity of working with Duke”, explained the saxophonist following their collaboration.
THE COMPLETE ALBUM
+ 1 BONUS TRACK
180-GRAM CRYSTAL CLEAR VINYL LIMITED EDITION"

Ka§par & Sheri Vari! Vault! Death Posture! Muzikalist! All these incredibly talented artists are on the latest release of In The Dark Again!
They deliver four tracks full of gloomy beauty and bitter sweet delight. Let yourself be enchanted by this very special record.
Better be quick as this release is limited to 100 vinyl copies only.

Sixth album by Christoph Heemann and Timo van Luijk. Four years after we got Lost in Spice we reached the point of Arrival. An altar on the surface of the water is burning with flames. Behind it you can see a half of the Earth's globe, and on it there’s a bright throne. A pale, translucent ruler wearing a crown sits in the throne. The globe is surrounded by a ball of shadows on which sits a larger dark ruler on a dark throne. Behind the globe are mountain peaks, and all of it is reflected in the water. Above the mountains are clouds which merge into rivers and end in a curved horizon on which forests stand, and the sun rises between them. Above this horizon is another sky with lunar crescents and comets. Above this sky are rows of angels bent over, above which the stars shine. The sun shines in the top left corner and the crescent moon in the right.

Chaotic Shimmer is a collection of songs that vary in texture and genesis. The A side has a stronger sense of familiarity with the more rocking numbers, while the B side stretches out in more exploration. Some of the same electronic elements of 2024's Black Holes Don't Choke can be found in songs like "Music For The People" and "Caught Waiting". There is also a subtle nod to Minor Threat in the lyrics of "Caught Waiting". The track "Path I'd Like to Follow" is dreamy and meditative - channeling JJ Cale or late sixties San Francisco fog. The opening track is a rocket ship waiting to escape the dull confines of this singular consciousness, and it creates a space for the title track to transcend at will. All of the songs were recorded by Charles Moothart at his studio in Los Angeles. He wrote, performed, recorded, and mixed everything heard on this album. Reserving the right to do as thou wilt is rock and roll 101. The world is chaos, and chaos is creativity. To accept and embrace this is to tap in to the Chaotic Shimmer - a transcendent energy. Music is for the people. Charles Moothart is a multi-instrumentalist based in Los Angeles. He plays guitar in bands like FUZZ and Primitive Ring, as well as drums in GØGGS and Moonhearts. He was the touring drummer for Ty Segall's Freedom Band, as well as the Ty Segall and White Fence collaborative tours. Moothart has also released solo work under his initials CFM.

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

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The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

Known for his indie-folk-inspired singer-songwriter music that envelops emotions and
moods in intimate, breathtakingly beautiful soundscapes, Cunningham has built a
massive following over the years, amassing more than half a billion streams.
With 'In Light', he wanted to push boundaries. Inspired - and unsettled - by the rapid
development of artificial intelligence, he sought to capture the essence of raw human
creativity. The result is a collection of ten tracks, recorded over five weeks in
Tottenham, North London. These songs-- captured as single takes with minimal
editing-- immerse the listener in a profound stream of consciousness. Cunningham
explores personal truths and reflects on the world's complexities, from the unsettling
grip of big data to the hope that genuine human connection still offers. As he sings in
'This I Know', "The best is yet to be / I believe." The album's title, 'In Light', reflects
Cunningham's optimism, shining through even in darker moments. "We're here right
now / Let's be here again tomorrow," he urges in New Symmetry, concluding with the
poignant affirmation, "I am leaving a light on".

,Siamo tutti in pericolo" ist das dritte Album von Golem Mecanique, dem Pseudonym der französischen Multiinstrumentalistin und Komponistin Karen Jebane, das auf Ideologic Organ veröffentlicht wird. Jebane arbeitet am Rande des zeitgenössischen Folk (aka La Novea Community), des mikrotonalen Sounds und der frühen Moderne, berührt aber auch die Asche und die Fasern des Back Metal und die DNA der Gothic-Musik, der Literatur, der Zauberei und vor allem der Poesie. Jebanes Arbeit mit der Drone Box (einer mechanisierten Drehleier) und der Zither als glatte und wellige Oberfläche für ihren Gesang ist auf fast zeremonielle Weise sofort ersichtlich und lädt in einen Raum von klarer, dunkler Kreativität und Schönheit ein. Auf ,Siamo tutti in pericolo" arbeitet Jebane mit ihren Kompositionsformen auf neue Art und Weise, poetisch und sparsam in der Ausführung ihrer Techniken, durch ihre Hommage/Hymnen/Meditationen über die höchst unregelmäßigen Umstände und Fragen/Mysterien des Vergehens der Seele von Meisterkünstler Pier Paolo Pasolini. In perfekter Kombination mit dem Coverbild des Collagekünstlers Julien Langendorff präsentiert ,Siamo tutti in pericolo" Jebanes ,Golem Mecanique" in Reinkultur. -Stephen O'Malley, Brion, Frankreich, 1. September 2024

Valuable vinyl reissue for this historic four-handed work by Gigi Masin and Giuseppe Caprioli. The concept of multitude combined with the figure/symbol of the labyrinth suggests orders of thought relating to the multiple states of being that inhabit the dark labyrinths of the soul, the hidden regions of the human psyche. All in Multitude In Labyrinth leads us to look for keys to understanding the ultimate meaning of a test as enigmatic as it is powerful. A congeries of paramusical phenomena in continuous evolution, expression of an internal feeling strongly concentrated on itself, disguised in the plastic flow of sound events that evolve on the gravitational maps of low-frequency drones, of the changing waveforms and of the elliptical-circular loops warped with scientific skill in the electronic workshop used for this purpose. A cinematic symphony in nine movements that direct the listening towards the frontiers of unexplored parallel worlds, ready to recreate the infinite maze of aural multitudes that materialize, dissolve and regenerate impulse after impulse for the duration of the work. Music whose remote echo makes us think of the harmony of the spheres that governs the mechanics of the cosmos and of being.

Repressed! Archival reissue of the garage-psych Zamrock masterpiece (1974)

PRESSED ON OPAQUE GREEN VINYL

“Electrified by a diet of James Brown, the Stones and Deep Purple, WITCH were the stadium-filling kings of 70s Zamrock.” - MOJO
This landmark recording from Now-Again’s comprehensive overview of Zambia’s premier garage-, psych-, prog-, funk-,afro-rock ensemble WITCH, We Intend To Cause Havoc! is now available in a never before seen color variant. The audio is nigh-perfect – restored and remastered from the original master tapes. WITCH’s musical arc is contained to a five year span and, in retrospect, is a logical one. The band’s first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry – are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. In The Past, their second album, is the perfect follow-up for anyone exposed to the WITCH band through their landmark Introduction.

Als Karl Wallinger Mitte der 80er die Waterboys verliess, um World Party zu gründen, brauchte es einen einzigen Song, um die Fans davon zu überzeugen, dass dies kein Nebenprojekt war. Dieser Song, "Ship Of Fools", ist zusammen mit "Is It Like Today?", "Way Down Now", "Put The Message In The Box" und "She's The One" auf dieser ersten weltweiten Veröffentlichung des 17 Songs umfassenden Greatest Hits-Pakets "Best In Show" auf Yellow & Red Double Vinyl im Gatefold zu finden, das sich aus den besten Songs aus den Alben "Private Revolution", "Goodbye Jumbo", "Bang!", "Egyptology", "Dumbing Up" und "Arkeology" zusammensetzt.

PS: Eine gleichnamige 13-Track-Best-Of-CD erschien 2007 ausschliesslich in Australien & USA. Das Vinyl ist eine Erstveröffentlichung und enthält den zusätzlichen Bonustrack "Best Place I've Ever Been".

Mitte März 2025 veröffentlicht Ninja Tune ein Reissue des legendären Albums 'Adventures in Foam‘ welches das einzige Album von Amon Tobin ist, das unter dem Namen Cujo (portugiesisch für „dessen“) veröffentlicht wurde. Diese ultimative 3xLP-Wiederveröffentlichung bringt zum ersten Mal alle Tracks zusammen und bietet damit eine umfassende Version des Albums.

The complete classic Dave Brubeck album + 1 bonus track - a limited edition pressing on 180g crystal clear vinyl

Time Out was an unusual album from the start, not only for its surprising time signatures, but also for its huge commercial success at the time (1959), and its enduring popularity even to this day. The album's hit tune, Take Five , composed by Paul Desmond, is the biggest-selling jazz composition of all time and a Grammy Hall of Fame inductee.

"Dave Brubeck's defining masterpiece, Time Out is one of the most rhythmically innovative albums in jazz history, the first to consciously explore time signatures outside of the standard 4/4 beat or 3/4 waltz time. This belongs in even the most rudimentary jazz collection." - Steve Huey, AllMusic

Leon Thomas is of course famed as one of the most important voices to have emerged from the 1960s jazz scene. He worked alongside Pharoah Sanders and Lonnie Liston Smith, co- composing ‘The Creator Has A Master Plan’.

At Flying Dutchman some of his records took lessons from contemporary soul resulting in wonderful fusions. Here we present two of his very best on 7-inch for the first time.

Experience Ghost In Us, Albert af Ekenstam's powerful return after an eight-year wait! With Scandinavia's most impressive voice, Albert blends raw post-rock with deeply moving singer-songwriter emotion, creating an album that radiates creative force. This isn’t just authentic music with a striking sound—it’s Albert’s soul, rediscovered and stronger than ever.

21 tracks - pressed on limited edition 180g vinyl.This special LP edition showcases all of Elvis Presley's 1957 rock & roll studio sides

The core group backing him on all sides are Scotty Moore on guitar, Bill Black on bass, and D. J. Fontana on drums, plus The Jordanaireson backing vocals.

All tracks recorded at Radio Recorders, Hollywood between January and September 1957. Additional musicians to core group: Gordon Stoker (piano) Tiny Timbrell guitar), Dudley Brooks (piano).

When I first heard Elvis' voice, I just knew that I wasn't going to work for anybody; and nobody was going to be my boss. Hearing him for the first time was like busting out of ail." - Bob Dylan

Elvis was a unique artist... an original in an area of imitators." - Mick Jagger

Bowie’s connection to Jacques Brel came through Scott Walker and the 1968 musical.

Das brandneue Studioalbum des brasilianisch-dänischen Garage-Rock-Duos! The Courettes präsentieren stolz ihr drittes Album, Back In Mono. Es ist ein Meilenstein in ihrer bisherigen Karriere. "Spit 'n'Snarl Garage Rumble-meets-Phil Spector Pop", der die Band in Bestform zeigt - großartiges Songwriting, Spector-esque Arrangements, mit weiteren Nuancen, Einflüssen und Produktionsqualitäten, die ihr Garagenrock-Rezept ergänzen. Vierzehn wagnerianische Teenie-Tragödien-Meisterwerke - es ist, als wären The Ronettes und The Ramones zu einer wilden Party in die Echokammer der Gold Star Studios eingeladen worden. Fuzz-Gitarren, laute Drums, trashige Pianos, Jingle Bells, Tamburine und dreiminütige Dancefloor-Garagenkiller, bei denen eine Wall of Sound die Songs aus den Lautsprechern schmettert! Produziert und aufgenommen von Soren Christensen in den Starr Sound Recording Studios in Dänemark und abgemischt vom Top-Produzenten und Wall of Sound-Liebhaber Seiki Sato in Japan.

Alongside the multiple UK Soul Chart No.1 album "Forward Motion' and trailing the vinyl 2LP issue comes the Georgie Bromfield Remix of 'I'm In Love (Georgie B. Remix)'.

Georgie Bromfield has a proven track record of No.1 Remixes in the Soul market, and is a veteran of the UK Soul Scene from the 1980's Jazz-Funk heyday of his band Second image up until the present day with his current releases by Groove Association.

Georgie has a weekly radio show every Saturday night on GLR. Georgie's remix highlights the vocals of one of Soul Music's 'best kept secrets', Antonio McLendon, a name that has rightly been comparied to Luther Vandross in terms of quality and who happens to be the father of Grammy-award winning Jazz vocalist Samara Joy. This remix is in advance of the vinyl 2LP release of the 'Forward Motion' album.

Das Debütalbum der ghanaischen Frafra-Gospel-Queen Florence Adooni (auch Mitglied bei Alogte Oho & Sounds of Joy) ist ein inspirierendes High Life-Werk mit grandiosen Tracks wie der Gospel-Hymne "Mam Pe'ela Su'ure" oder dem mit Jimi Tenor aufgenommenen Clubtune "Vocalize My Luv". Produziert wurde "A.O.E.I.U." von Ethno-Funk-Pionier und Philophon-Betreiber Max Weissenfeldt. Florence Adooni ist mit ihrer achtköpfigen Liveband regelmässig auf Tour, begeisterte bei Festivals wie Roskilde, Down The Rabbit Hole und Überjazz und absolvierte 2024 mehrere Termine mit Erobique.

A very X-Tracks oldschool techno style... Minimal, efficient and supra Dancefloor.

** PRESSED AT 200 **

Synthesizers melancholic , heavenly voices and drum machines with hypnotic beats, without a doubt an essential album for when you want to take a break and let your imagination fly!

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

Violeta García is a cellist, composer and curator from Buenos Aires, Argentina, based in Bern, Switzerland. Working across a broad spectrum of artforms including improvisation, contemporary classical and electronic music, she is set to release her new album "IN/OUT" via Bongo Joe.

Estrellas de Buena Vista was formed to continue the tradition of Buena Vista Social Club. The band features 16 musicians, including 8 original members of the Buena Vista Social Club. The singers Carlos Calunga and Lazaro Villa are from the new generation, and sparks a fresh energy to the Cuban evergreens. The repertoire will recall the golden age of Cuban music, fusing traditional rhythms and songs with contemporary influences. When the group performs in Cuba, the theaters are full of loving enthusiastic audiences, as can be heard on this live recording. And exactly to transmit this authentic Cuban feeling, the band decided to record one of their shows last year. For this album the band invited special guests, the singers Alain Perez and Mayito Rivera. The group has gained national and international recognition for its virtuosity and for transmitting the joy and vibrant spirit of Cuban music, transporting the listeners to the warmth and contagious rhythm of the island. LIVE IN HAVANA presents classical songs in authentic relation to the live audience.

Nach Releases auf Too Pure, God Unknown und Big Scary Monsters erscheint das neue Album des Londoner Brüderpaares Cassels auf Human Worth. Produziert von Alex Petersen (aka Vincent Vocoder Voice) ersetzt das Duo scharfzüngige Charakterskizzen mit einem berauschenden Cocktail aus Philosophie und Körperhorror. Vorbei sind Flirts mit Indie-Rock und Elektro, stattdessen wird eine aufregende Vision dessen präsentiert, was harte Musik sein kann. "Tracked In Mud" ist der Soundtrack zum Leben in den letzten Tagen einer arroganten, technokratischen Höllenlandschaft. Die LP erscheint auf Ecomix-Vinyl in Topausstattung. 10% aller Einnahmen gehen an das gemeinschaftliche Lebensmittelzentrum/Vertriebsnetzwerk The Hornbeam Centre.

IN+OUT Records veröffentlicht den zweiten Teil dieser wunderbaren Kompilation, liebevoll zusammengestellt von Frank Kleinschmidt und Thorsten Scheffner, mit Songs aus Alben, die auf Organic Music erschienen sind ("You’ve Changed", "Underground System", "My Time" und "Tears"). Ein Best-of-Album der letzten Dekade, mit Originals wie "Moon Dancer" oder "The Key", unsterblichen Standards wie "In Your Own Sweet Way" und "Here's
That Rainy Day" sowie den Ray Charles Classics "I Got A Woman" und "Hallelujah I Love Her So".

- Für Fans von: Shellac, Bad Breeding, Agriculture, Thank, Unsane, Future of the Left, Modern Technology, Frauds

The Music Of Anthony Braxton (Live In Los Angeles) by Steve Lehman & Mark Turner, released 28 February 2025.

Phara presents, 'In Glass'. The first release under this new moniker, moving at a softer and more harmonic cadence.
Expect layered, mesmerising soundscapes inspired by cold winter days, held together with the more familiar tensions and textures you might expect from Phara.

A total sonic violation yet bewitchingly beautiful, ‘While My Machines Gently Weep’ sits on the precipice of overload, with Orwellian echoes of humanity’s ugliness.

Acid Rejects Volume 1. A minimal sonic ritual which transcends into a sublime 303 and 909 duel.

Pressed on a ltd 12” with the Acid Rejects Vol 1. as a vinyl exclusive.

Mastered by Rashad Becker.

After a near-total silence of twenty years, Edith Frost is back again, and in full bloom with In Space. Her first new record since 2005"s It"s a Game is just in time - the world needs Edith"s voice back in the conversation. And her ineffable way with a tune . . . It seems Edith needed something, too: from the notebooks of her long hiatus, a line like "I say too much/I wait too long/I wait forever/And notice that it"s gone" speaks volumes about feelings of lack. Overwhelmed by the demands of day-to-day living and the details and anxieties that always come, Edith squirreled herself away for as long as she could - only to find herself isolated, spun even farther into the doldrums. In Space isn"t simply a song-cum-album title so much as a very real exploration of the remote place she"d found herself, with her songs registering this recognition and measuring the vast distances between herself, the life that is and the life that was. It was the only way back in! Over the years away, Edith was immersed in music everyday, and spent lots of time learning - in addition to new lyric perspectives, her reinvention of herself as a keyboard player is one of the waves lifting the album In Space. The keys suggested different places within Edith"s harmonic palette; for us listening, this attenuation seems to create a deep focus on emotional life within the songs and a breathtakingly visceral presence in the performances. Her voice as well, in all its iterations, sounds quite fine and vital. The songs, as ever, are low-key brilliance elevated by the vitality of Edith"s voice. Mark Greenberg, alongside longtime Frost A&R man Rian Murphy, brought fresh arrangement ideas to complement the strange-new-world vibe of Edith"s songs. Recorded at The Loft in Chicago, with invaluable contributions from Jim Becker (Califone, Air Blue Gowns), Sima Cunningham (Finom, formerly OHMME), Bill MacKay and Jeff Ragsdale, In Space feels like the most Edith Frost record yet made, pulled from deep inside with great feeling, awash in harmonized voices and - more often than ever before - featuring her own playing. Alternatively approaching and avowing connection, Edith"s crafty songwriting orbits the human exchange with an increasing sense of possibility. It"s what the world needs the most of today.

Re-Issue
IN FLAMES repräsentieren das Beste aus Vergangenheit, Gegenwart und Zukunft des Metal. IN FLAMES sind heute genauso vital und sogar noch energiegeladener als in den vergangenen Jahrzehnten, als sie Klassiker wie Come Clarity und Clayman herausbrachten.

Die Band hat sich einen umwerfenden Ruf erspielt, indem sie auf der ganzen Welt bei jedem erdenklichen großen Rock- und Metal-Festival mitreißende und inspirierende Auftritte absolvierte, als Headliner auf mehreren Tourneen auftrat und mit Bands wie Slipknot, Megadeth, Judas Priest, Killswitch Engage, Within Temptation und Lamb Of God tourte. Sie treten regelmäßig auf einigen der größten Bühnen und Festivals der Welt auf.

"Foregone", das furiose vierzehnte Studioalbum, verbindet die größten aggressiven, metallischen und melodischen Stärken ihrer bahnbrechenden Alben mit dem ausgereiften Songwriting ihrer postmodernen Ära. "Foregone" schafft es meisterhaft, wenn auch unwahrscheinlich, alle Seiten der IN FLAMES-Fangemeinde zu bedienen, und das mit großer Wucht.

Ein Gefühl des Stolzes, der Errungenschaft und der anhaltenden Vitalität ist jedes Mal, wenn die Band die Bühne betritt, und überall auf "Foregone" zu spüren. Als Pioniere des Melodic Death Metal und innovative Verfechter des Grooves sind die Kunst, der Einfluss, die Größe und die Zukunft von IN FLAMES so groß wie der Heavy Metal-Horizont selbst.

"With all songs written by the band over the past year or so, the album was recorded and produced by Michael Giblin (The Split Squad) at Mechanicsburg, Pennsylvania in Sep 24 and mastered at Rare Form Mastering by Greg Reierson, Like all three previous Vapors releases, this album conveys an individual feeling of it's own, both lyrically and musically. The title derives from a line in the song ""Forever & Ever"" but it also describes perfectly the high velocity, guitar and bass, heavy punked up tempo that runs through a number of the songs, whilst conjuing up an image of bottled-up anger that runs through a number of the album's lyrics.
Best known for their major worldwide 1980 hit ""Turning Japanese"", The Vapors originally split in 1981 after two short years producing six singles, two albums, three major US tours and an Australian tour, and countless shows in the UK. After a 35-year hiatus, the band reformed for a series of four shows in Ireland and England in 2016 which were so well recieved that they continue to tour extensively, with over 160 gigs played since, with a comeback album ""Together"", in 2020 and several singles released along the way."

Seit mehr als einem Jahrzehnt hat sich Serenity In Murder fest in der Melodic-Death-Metal-Szene etabliert und setzt mit ihrem neuesten Meisterwerk
„Timeless Reverie“ erneut Maßstäbe. Nach der gefeierten Veröffentlichung von „Reborn“ im Jahr 2021 verfeinert die japanische Band ihren
charakteristischen Mix aus roher Aggression und symphonischer Eleganz weiter. Das Album durchstreift eine düstere und emotionale Landschaft und
nimmt die Hörer mit auf eine Reise durch Themen wie Zeit, Schicksal, innere Konflikte und persönliche Revolution.
Die Erzählung von Timeless Reverie ist eng mit existenziellen Fragen und der Suche nach Sinn in einer erbarmungslosen Welt verknüpft. Der Titel
selbst, Timeless Reverie, deutet auf eine Meditation über Momente hin, in denen die Zeit scheinbar stillsteht und Vergangenheit, Gegenwart und
Zukunft miteinander verschmelzen. Das Album erforscht die Zerbrechlichkeit des Lebens, die Komplexität menschlicher Emotionen und den ewigen
Kampf zwischen Licht und Dunkelheit.
Musikalisch verbindet das Album nahtlos komplexe Melodien, atmosphärische symphonische Elemente und erdrückende Härte. Mit dem furiosen
Opener God Forsaken setzt Timeless Reverie einen kraftvollen Ton an, der sich durch das gesamte Album zieht. Zugleich bietet es intensive Momente
und melancholische, atmosphärische Passagen, die den Hörer in das Erlebnis eintauchen lassen und jede Ebene aufsaugen, während die Musik in
jeder Note tief nachhallt.