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Devon Church ist ein aus Winnipeg, Manitoba, stammender und in New York City lebender Singer-Songwriter. Er war viele Jahre lang Multiinstrumentalist, Co-Autor und Produzent des Dreampop-Duos Exitmusic, dessen Album Passage 2012 bei Secretly Canadian erschien und von Pitchfork als "aufrührerisch, cineastisch und manchmal brillant" beschrieben wurde. 2018, im selben Jahr, in dem Exitmusic ihren Abgesang The Recognitions auf felte veröffentlichte, brachte Church sein Solodebüt We Are Inextricable ebenfalls auf felte heraus, das die texturalen elektronischen Elemente, die er während der Exitmusic-Jahre genutzt hatte, in den Dienst eines Songwriting-Stils stellte, der in der Folk-Rock-Tradition verwurzelt ist. Nachdem Church 2019 in den gesamten USA aufgetreten war (im Vorprogramm von Orville Peck, Adam Green, Kirin J Callinan und Black Marble), machte er sich an die Arbeit, um sein neuestes Werk, Strange Strangers, aufzunehmen, während er in einer Scheune im ländlichen Pennsylvania Zuflucht vor der globalen Pandemie suchte. Das größtenteils selbst produzierte Album klingt, als hätte Eno aus der Apollo-Ära Phil Spector auf halbem Wege zu den Aufnahmen von Death of a Ladies Man die Regler (und die Pistole) entrissen. Die atmosphärischen Elemente von Churchs früheren Produktionen werden auf dem Album sublimiert und in den Dienst von bandgesättigtem Gesang, Combo-Orgeln und Gitarren gestellt. Seine Stimme, die seit seinem Debüt selbstbewusster und zurückhaltender geworden ist, ist immer noch irgendwo zwischen einem lakonischen Lee-Hazelwood und einem rauchigen Tom Waits, aber sie wird bei Stücken wie dem intensiv melodischen und treibenden "Flash of Lightning in a Clear Blue Sky" deutlich ruhiger. Die engelsgleichen Backing Vocals von Churchs Partnerin, der Künstlerin Ada Roth, verleihen dem Bariton des weltmüden Erzählers eine Aura von traumhafter Leichtigkeit. Wenn Roth in gedämpften, an Hope Sandoval erinnernden Tönen in den Vordergrund tritt und einen Text wie "We're so bored of the apocalypse" vorträgt, nehmen die Dinge eine subtil bedrohliche Wendung in Richtung Pop-Surrealismus. Ein Sinn für kosmischen schwarzen Humor hat sich in Churchs Texte eingeschlichen. Strange Strangers leiht sich den Titel von dem Öko-Philosophen Timothy Morton: "The strangeness of strange strangers is itself strange, meaning the more we know about an entity the stranger it becomes."

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

"Released in April 1966 by Decca Records, Aftermath was the Rolling Stones’ fourth British studio album. It was issued by London Records in the US in June 1966. Recorded at the RCA Studios in California, it was their first album released in true stereo.
It is also one of the first ‘popular’ albums to eclipse the 50-minute mark, and contains one of the earliest rock songs to exceed 10 minutes (the blues jam Goin’ Home). The album’s release was briefly delayed by controversy over the original packaging idea and title – Could You Walk on the Water? – due to London Reocord’s fear of offending Christians in the US.

The album was considered an artistic breakthrough for the band, being the first to consist entirely of Jagger–Richards compositions, (after their maverick young manager, Andrew Loog Oldham, had shut them in the kitchen of their flat until they had written some more original songs!).
It also featured strongly the immaculate guitar work of Brian Jones and the remarkably wry, observant song-writing of Jagger–Richards
Jones played a variety of instruments not usually associated with their music, including sitar, dulcimer, marimbas and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. The burgeoning influences of psychedelia, Bob Dylan and the tensions around the world, are evident in classics like Paint It Black, an eerily insistent number one hit, available on the US version of the LP.

Other classics included the jazzy Under My Thumb, where Jones added exotic accents with vibes, and the delicate Elizabethan ballad Lady Jane, with distinctive dulcimer, the wry observational Mother’s Little Helper with its unashamed lyrical drug references, and the overlooked gem – the brooding, meditative I Am Waiting.

The American edition was issued with a shorter track listing, substituting the single Paint It Black in place of four of the British version’s songs, in keeping with the industry preference for shorter LPs in the US market at the time."

Tape

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

On Labyrinth, Heather Woods Broderick serves as our reflective host, subverting expectations of conventional songcraft with impressionistic language and quietly relentless explorations of the human experience that's at once light and dark, more circular and less linear. "Many of us yearn for stillness and peace, as an escape from the movement all around us," she explains when asked about the themes of the album. "Yet movement is perpetual, happening all the time on some level. It's as wild as the wind, yet eternally predictable in its inevitability. It is linear in part, but infinite in its circuitry. Our lives just punctuate it." Broderick began crafting Labyrinth in March 2020, when most forms of move- ment were brought to a screeching halt. The Maine-born, Los Angeles-based songwriter _ who, in addition to her work as a solo musician, built a life playing and touring with acts such as Sharon Van Etten, Beth Orton, Damien Jurado, and Efterklang _ was suddenly forced off the road for the first time in her career. She used this disruption as an opportunity to pare down her creation process and construct the scaffolding for Labyrinth in her apartment. Employing only the most crucial tools at her disposal, Broderick found herself opening different artistic doors as she focused on sharpening her recording skills, capturing the majority of the album on her own before finishing the remainder with co-producer D. James Goodwin. For all of Broderick's sage lyricism and vocal authority, Labyrinth never provides the listener with any easy answers. If the image of the labyrinth represents the enormity of modern life and the difficulty of navigating it, Heather Woods Broder- ick provides a guide to its endless kinetic wonders _ of being present, aware, and connected despite its disconnects. She describes the texture of its walls, its indifferent rhythms, and the inherent poeticism of feeling lost amid the dead-ends and unexpected turns. At this point in our history, perhaps that's all we need to keep moving.

Grey Vinyl

On Labyrinth, Heather Woods Broderick serves as our reflective host, subverting expectations of conventional songcraft with impressionistic language and quietly relentless explorations of the human experience that's at once light and dark, more circular and less linear. "Many of us yearn for stillness and peace, as an escape from the movement all around us," she explains when asked about the themes of the album. "Yet movement is perpetual, happening all the time on some level. It's as wild as the wind, yet eternally predictable in its inevitability. It is linear in part, but infinite in its circuitry. Our lives just punctuate it." Broderick began crafting Labyrinth in March 2020, when most forms of move- ment were brought to a screeching halt. The Maine-born, Los Angeles-based songwriter _ who, in addition to her work as a solo musician, built a life playing and touring with acts such as Sharon Van Etten, Beth Orton, Damien Jurado, and Efterklang _ was suddenly forced off the road for the first time in her career. She used this disruption as an opportunity to pare down her creation process and construct the scaffolding for Labyrinth in her apartment. Employing only the most crucial tools at her disposal, Broderick found herself opening different artistic doors as she focused on sharpening her recording skills, capturing the majority of the album on her own before finishing the remainder with co-producer D. James Goodwin. For all of Broderick's sage lyricism and vocal authority, Labyrinth never provides the listener with any easy answers. If the image of the labyrinth represents the enormity of modern life and the difficulty of navigating it, Heather Woods Broder- ick provides a guide to its endless kinetic wonders _ of being present, aware, and connected despite its disconnects. She describes the texture of its walls, its indifferent rhythms, and the inherent poeticism of feeling lost amid the dead-ends and unexpected turns. At this point in our history, perhaps that's all we need to keep moving.

Like many debut solo albums from musicians in bands, Jared Mattson’s Peanut didn’t originally come from a need to break away. As a composer for the Mattson 2, Jared Mattson was working up a batch of new songs through the winter of 2019-2020, looking ahead to the next album he and brother Jonathan Mattson, the blitzkrieging drummer, would record. As the pandemic hit stateside, Jared holed up in his home studio and kept developing the new music. And during that process it became increasingly clear to them that this wasn’t shaping up to be the next Mattson 2 album. This was a Mattson 1 album.

Jared had been absorbing the guitar work on records by reggae stalwarts Aswad and Burning Spear, and also the Police’s Andy Summer and the ways he gives songs space. And Jared wanted a prominent bass sound, too, where the guitar itself sometimes settles into the passenger seat so that the bass can drive. Lyrically, the album taps into our rattled world, where anxiety, loss, violence, and regret are sometimes pierced by the promise of love. The time spent working on the album was a profoundly introspective time as he reflected on past relationships while living through and writing during the pandemic, he also never lost sight of this truth about himself: Life is great with music.

One of the album’s standout highlights is “Burn Down Babylon,” which is propelled by the bass’s funk-you-say groove. You don’t often encounter many pop songs with so blunt an opening line as, “I got punched in the face last night by a neo-Nazi,”—a true experience that was delivered many years ago in a bar brawl in Carlsbad, California. But to hear the music that goes along with this tale manages a vibe that is less melee and more backyard jubilee.

When “Please Come Here,” with an intro that slinks along like a Cadillac on a Sunday morning drive, kicks in, it’s typical of the album’s melodic pop flourishes, but the twist here is that the vocals are in Japanese (The Mattson 2 have toured Japan 20 times and covered many Japanese pop songs on 2018’s Vaults of Eternity: Japan). Ween’s “She Wanted to Leave” is the lone cover, but the way Jared reimagines the song makes it fits seamlessly within the album’s sonic template. The song’s inclusion was also a personal way to honor one of Jared’s best friends, who died from cancer two years ago. The two had always bonded over the song and marveled at its inherent beauty. Ultimately, Mattson’s solo debut unfolds like a string of fascinating clouds: These are not songs in a hurry; they shift around as they float by, and, most notably, they carry their unique kind of electric charge.

Bevor Kelly mit der Arbeit an seinem dritten Album begann, zog er aus seinem Haus in Nashville aus und in einen alten viktorianischen Bungalow in der Kleinstadt Portland in Tennessee. Dort verbrachte
er monatelang in bewusster Einsamkeit, um eine Reihe von lebensverändernden Veränderungen zu verarbeiten, die er im vergangenen Jahr durchgemacht hatte, darunter eine sehr öffentliche Scheidung sowie große Umwälzungen in seiner unmittelbaren Familie.

”Ich hatte das Bedürfnis, mich selbst besser zu verstehen und das wahre Fundament meiner Person wiederzuentdecken”, sagt Kelly, der auf seinem 2018 erschienenen Debütalbum Dying Star offen über
seinen Kampf mit der Drogensucht berichtet hat. Indem er die selbstbewusste Wahrheitsfindung, die er schon immer in seine Musik einfließen ließ, weiter vorantreibt, vertiefte sich Kelly schon bald in die Arbeit an The Weakness, und das Ergebnis ist ein unglaublich ehrliches, aber zutiefst hoffnungsvolles Album, das letztlich unser enormes Potenzial offenbart, aus den schmerzhaftesten Erfahrungen Kraft und Schönheit zu schöpfen.

Pressing Info: 180g translucent pink vinyl, limited to 250 copies, download card included. Five years on from their 2018 debut album 'Great Vowel Shift', Lviv, Ukraine-based krautrock outfit Sherpa The Tiger are now returning with their second album, 'Ithkuil, via Fuzz Club Records - with 100% of the profits from the release going to the band to help support them during the war. Where their previous work was centred around vintage synths, minimal ambient and neon-lit kraut-disco grooves, 'Ithkuil' sees Sherpa The Tiger explore more expansive and layered structures and compositions - incorporating intricate guitars, flute, arpeggiators and jazzy piano references, alongside an array of other elements that originate from a broad spectrum of past and present music genres. "This album bears the name of 'Ithkuil' for a reason", the band state: "Like the language we borrowed the title from, the sound of the record has a lot of levels, layers, and orchestral nuances. We consider this album and its pieces a single journey. Every track of the LP works as a mandatory stop for contemplation and reflection that happens on the route of the listener." Sherpa The Tiger began working on the new material in 2019 during their EU live shows in support of 'Great Vowel Shift' and chalk the more textured and cinematic results down to a more collaborative approach. "We wanted to rethink the Krautrock heritage explored on our last album and made a clear stylistic shift that was determined by a totally different approach to our music-making. The tunes on 'Great Vowel Shift' were cooked in a sort of live-looping mode with two musicians jamming. This time, with 'Ithkuil', the process of creation was shared among 4 musicians, and that approach had a great impact on the final result." Several years in the making and now released against a backdrop of war and invasion in their home country, 'Sherpa The Tiger' say that 'Ithkuil' acts as a snapshot of pre-war times: "Since the war caught us in the middle of planning the release as opposed to creating the music itself, the album can be perceived as a wistful reminder of the pre-war life that doesn't seem to be coming back. The life we actually experienced but lost any recollection of and which we are desperately trying to bring back through the music created by the other us now dwelling in an absolutely different reality."

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

The duo of Charles McCloud and Roslyn Johnson made only two albums during their career…but those two albums (Everything Must Change and Spirit of the Living God) are among the most collectible records ever made in the gospel genre. In fact, they are so hard to find that we’re still searching for Spirit of the Living God to scan the artwork, but we managed to snag a copy of their 1981 debut Everything Must Change on the obscure Cheri label (though we may have to pass a collection plate to recoup the cost!).
It’ll just take the first track to show you why these records are in such demand; you have never heard such a soulful (check out those harmonies!), slow-burning rendition of that hoary chestnut “Amazing Grace” in your sanctified life! And with able production by keyboardist Julius Brockington, who played with Larry Young and headed up several outfits of his own, Everything Must Change is a crossover album in the best sense of the word, blending the spiritual fervor of gospel with the danceable grooves of soul and—dare we say it?—disco. Don’t miss the Donny Hathaway cover “Someday We’ll All Be Free,” too. Black vinyl release, first ever reissue in any format…limited to 1000 copies!

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video grames, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

Released in the UK in January 1967 by Decca Records and February by London Records in the US – Between The Buttons was the Stones’ fifth British and seventh US studio album. Released as the follow-up to Aftermath, this album marked a high point in the band’s career, continuing their ventures into psychedelia and baroque pop balladry, it is among the band’s most musically eclectic works. Brian Jones sidelined his guitar on much of the album, instead playing a wide variety of other instruments including organ, marimba, vibraphone, and kazoo. Piano contributions came from two session players: former Rolling Stones member Ian Stewart and frequent contributor and studio legend Jack Nitzsche. It was the last album produced by Andrew Loog Oldham, the band’s manager and producer of all of their albums to this point.

The album has one of the most striking sleeves of the period, featuring a classic Gered Mankowitz image on the cover. The photo shoot took place at 5:30 in the morning following an all-night recording session at Olympic Studios. Using a home-made camera filter constructed of black card, glass and Vaseline, Mankowitz created the effect of the Stones dissolving into their surroundings – according to Mankowitz… ""to capture the ethereal, druggy feel of the time; that feeling at the end of the night when dawn was breaking and they’d been up all night making music, stoned.”

The songs continued Aftermath’s lyrics of acute social observation and savage insight, their earlier raw, rootsy power enhanced by other influences of the period – notably The Beatles, The Kinks, and again Dylan. It is one of their strongest, most varied LPs, with many great songs that remain unknown to all but Stones devotees.
The inventive arrangements and innovative instrumentation on brooding near-classics like All Sold Out, My Obsession and Yesterday’s Papers brought a new dimension to the music. She Smiled Sweetly shows their hidden romantic side at its best, Connection is one of the record’s few pieces of more conventional driving rock and album closer Something Happened To Me Yesterday includes Keith’s first solo vocal.

The US version includes contemporaneous hits – the two songs that gave the group a double-sided number one in early 1967: the shameless and controversial Let’s Spend The Night Together and the beautiful, melancholy Ruby Tuesday.

Award-winning Vibraphonist Lewis Wright with Matt Brewer (Double-Bass) and Marcus Gilmore (Drums) partnered together in 2019 on their 'The Color of Intention' CD album. We believed that the recordings deserved release on vinyl.

“The Colour of Intention refers to the creative process itself: that in order to express yourself honestly in music, you have to generate clear intentions developed from thoughts and emotions which then colour the work rather than explaining every aspect of it. In the moment of performance, the goal then becomes to put all these previous investigations out of mind and exist in the present. The colour of intention is describing everything except performance; the slower processes of development, reflection and refinement and how they’ll seep, often unpredictably, into everything that ends up being realised. Working with Matt (Brewer) and Marcus (Gilmore) adds the last and most engaging dimension. How they interpret the music, interact and bring their own highly developed languages to bare, creates something that’s both a reflection of my intentions and also infinitely more sophisticated than it’s possible for me to conceive of. I think in this sense, human connection is the greatest element of what it is we do as musicians.” – Lewis Wright

’Military Arms’ is the debut output by Gothenburg-based sound-smith Irma Krook. Up until now primarily known as bass player & founding member of death pop vanguards Makthaverskan, Krook has composed four tracks of ethereal beauty, in the sanctity of her own home.



Limitation is the mother of invention and recording from a flat in Masthugget narrows the possibilities even more. Recording her vocals on her phone & making all instrumentals in GarageBand on an iPad - Krook has succeeded in making a big sound from small means.

Uniquely her own, while still honoring the inspirations. Kate Bush á Hounds Of Love-era, Anna Domino, 90’s era Talk Talk, This Mortal Coil & Julee Cruise. 


Music you’ll need to take out your furniture before listening, for it to even fit in the room it’s occupying.

’Military Arms’ is available physically on a black vinyl 12” & digitally through all streaming.
It will be forerun by the double-single ’Find Me’ on the 15th of February, containing the B-side track ’I Keep On You’ which will not be available on the full-EP release.

John Eliot Gardiner feiert am 20. April 2023 seinen 80. Geburtstag. Parallel zu der 64-CD umfassenden Box werden zudem noch zwei bedeutende Alben auf Vinyl veröffentlicht: Händels Wassermusik und Purcells King Arthur.

Als dieses Album 1980 mit Händels Wassermusik aufgenommen wurde, war das Ensemble English Baroque Soloists erst zwei Jahre zuvor gegründet worden.
John Eliot Gardiner hatte 1964 zunächst den Monteverdi-Chor und 1968 das Monteverdi-Orchester gegründet, das auf modernen Instrumenten spielte.
In den späten 1970er Jahren wechselte das Orchester zu historischen
Instrumenten und wurde zu den English Baroque Soloists.

Das erste Konzert unter dem neuen Namen fand 1977 bei den Innsbrucker Festwochen für Alte Musik statt. Die Wassermusik-Suiten sind eine der ersten Aufnahmen der English Baroque Soloists. Gardiners Ästhetik bestand aus Genauigkeit, instrumentaler Perfektion, Intonation und Dynamik - es ging darum, alle Vorurteile, die es damals über den Barock geben konnte, abzubauen

Eine Sammlung einiger der besten Live-Auftritte von Michel Petrucciani beim Montreux Jazz Festival! Der Ton wurde professionell restauriert und in erstklassigem HD-Audio neu gemastert.
"Michel Petrucciani: The Montreux Years" erscheint auf hochwertigem, audiophilem, schwerem Vinyl, auf CD in MQA-Qualität
und in HD-Digital. Die Veröffentlichung enthält brandneue Linernotes und seltene Fotos von seinen Montreux-Shows.

BKM Etah 195 - Vinyl 180gr - Transparent Red - Poster A1 - ltd500
Main Giftkeks tracks (Silent Running/Giftkeks/Draw Your Terminal Breath/Du Hast Kein Herz) + Instrumentals

Die Oster Offenbarung
Ostern 2023 - pünktlich zum höchsten christlichen Feiertag - erscheint Interludium am 07. April 2023.
Diese Veröffentlichung enthält sechs brandneue Studiotracks, darunter die Single „Sainted By The Storm“, welche bereits 2022 auf der berauschenden Wolfsnächte Headliner Tour von den Besuchern frenetisch bejubelt wurde. Mit dem Song „My Will Be Done“ liefern die Wölfe zudem einen der intensivsten Tracks der Bandgeschichte. Die neuen Stücke vereinen die musikalischen Trademarks von POWERWOLF und stellen allesamt die Stärke der Band und deren vom Gemeinschaftsgedanken geprägten Charakter in den
Vordergrund.

Ergänzt wird diese auditive Erfahrung von Perlen & Raritäten der Bandgeschichte. „Stronger Than The Sacrament” und „Living On A Nightmare”, welche bislang nur auf streng limitierten Samplern und sehr raren Tour-EP-Singles (aus dem Jahre 2012 bzw. 2015) zu finden waren. „Midnight Madonna” erschien bislang nur bei der Earbook-Edition vom Album The Sacrament Of Sin und die Fans aus Frankreich die in deren Landessprache vertonte Hitsingle „Bête du Gévaudan“ („Beast Of Gévaudan”) bereits von einer exklusiven Single kennen.

Kurz nach ihren allerersten Nordamerika-Shows, der (Un-)Holy Easter Mass in Köln, am 6. April 2023 (Album-Releaseshow) und vor erneuten Auftritten auf den großen europäischen Sommerfestivals, zieht das
Wolfsrudel mit Interludium auch 2023 die ganze Welt in seinen Bann.

"This is a melancholy, broody, moody and fun project to get lost in” – CLASH
★★★★★ “Few bands are brave enough to try something this ambitious, even fewer have the talent to pull it off” - UPSET
Accompanied by an awe-inspiring film that immerses viewers in 180 degrees of virtual reality, the brand new album finds the band reinvigorated once again, delivering a serene salvo of songs that defy the heavy weight of adulthood, faith and self-redemption through sounds unlike anything they have made before. Following their previous 2021 LP, The Million Masks of God - an acclaimed collection that cried for help as it explored a man’s encounter with the angel of death - The Valley of Vision puts forth a collective, cathartic expression of gratitude that is brought to life in both the songwriting of frontman Andy Hull, and the cinematic story directed by Isaac Deitz.

Writing for the record began with a chance occurrence in the summer of 2021. Hull was looking through his suitcase for his lyric notebook, but instead found a 1975 book of Puritan prayers called The Valley of Vision, which his mom had gifted to him the previous Christmas. The title became a mantra that helped inspire the idyllic yet otherworldly energy that permeates throughout the album and film. An evolution from its predominantly guitar-driven past, the band almost completely abandons the instruments it is used to, and instead plays with primitive yet powerful piano leads and shimmering atmospheres, backed by sub-synth frequencies of bassist Andy Prince and shapeshifting sounds of drummer Tim Very.
"

If Es’ debut album for Upset the Rhythm explored the “tension between intent and interpretation”, the London group’s 2023 EP, ‘Fantasy’, constructs a coda for resistance against the distorted gaze. A four-track contact-high anxiety amid fact and facsimile, the new release attempts to define a sound that still resonates in an increasingly confused public theatre, where cerebral dreams manifest in corrupt fascination.
Echoing the legendary Pylon or the later, disco-inspired releases from PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established disjunctive style of gothic restlessness with brighter, poppy, and danceable tones. These stylistically unwind in transition with the increasingly claustrophobic pieces like ‘Too Late’ and ‘Swallowed Whole’, syncopating a parallel design of the frantic and the fashionable.
Paired with a lyrical intricacy which emits a desire to break the fetish of false representation, ‘Fantasy’ reminds us that worthy punk records, like any manifesto of neurotic suspicion, balance testimonial, speculative-fiction, and social critique. Indebted to the past but pointed sharply to the future, Es deconstruct our modern wreckage of personhood and self-deceit, granting a sense of solidarity inside alienation. Inside ‘Fantasy’ we visualize our own estrangement, and it is only when this mirror fades that we find the tools to fight back.

A Rothko-esque color field set to music, The Window Is The Dream ventures even deeper into Horn's inner space than her stark, acclaimed debut Optimism, which earned her an 'artist to watch' tag from The Guardian upon its release last year. For her second record, Horn travelled to upstate New York to record with a few musical touchstones in mind: the electro-primitivism of the Silver Apples, austere rhythm kings This Heat and The Raincoats' time-bending Odyshape , however the resulting 10 songs are an entry into a world which is very much her own.

„ELEMENT OF CRIME hat es immer schon gegeben; bevor sich die Band vor Jahrzehnten gegründet hat, hat man diese Musik wohl schon in sich drin gehört. Lässigkeit mit Herz, Wippen mit Schnauze,
Unangestrengtheit auf die Spitze getrieben, aber niemals schlampig. ELEMENT OF CRIME ist ein Lebensgefühl, ohne das die Welt weder denk- noch aushaltbar wäre. Jetzt also ein neues Album „MORGENS
UM VIER“. Ich bin da neuerdings auch schon immer wach, nicht: noch, wie früher. Wir sind wohl alle bisschen stiller geworden, in den letzten Jahren: „Wir haben keine Lösung, wir haben Lieder“, ja, muss
man zugeben. Und scheint es nicht vielen, als ob gerade der oder die Liebste eine Axt in den Händen hielte? Fast logisch, dass es die Katze ist, die fragt: „Leute, wo soll das enden?“ Die Katze! Hoffe nur,
jemand hat bald eine Antwort darauf. Bis dahin: Mitwippen, mitsummen, mitleiden, sich nicht erwischen lassen.“
Eva Menasse

NF is the stage name of rapper and composer Nate Feuerstein, whose raw emotions and honest lyrics launched him into the upper reaches of the charts with his 2017 album Perception. Initially emerging in 2010, NF gained wider attention after his 2015 album, Mansion, and 2016 follow-up, Therapy Session, both reached number one on the Christian charts. That success set the stage for his 2017 breakthrough. Buoyed by the Top 20 hit "Let You Down," Perception hit number one on the Billboard 200. NF's second Billboard 200 chart-topper, The Search, arrived in 2019 and was followed in 2021 by the mixtape Clouds.

This album originally came out on vinyl only in Europe, so there is still a lot of pent-up demand for a new LP reissue of this 1991
classic from the Voïvod catalog (especially in Canada, where the
band is worshipped). Produced by Terry Brown of Rush fame, Angel
Rat moved the band further into spacy psychedelic territory with
such tracks as “Golem” and the title track. A mesmerizing, moody head trip of a record. Metallic blue vinyl pressing. Remastered for vinyl by Peter Moore

This genre-bending album takes the listener on a sonic journey through moments of gritty hip hop as well as lush soul/R&B soundscapes, also providing a glimpse into modern jazz.

World Champion Battle DJ, Rhettmatic, reminds you why he’s one of the most respected DJs in the world with his masterful scratches throughout the album. In a time where musicians are scrambling to copy whatever the latest trend in music is, more than ever.

JRawls’ signature Jazz-Hop sound meshed with Rhettmatic’s West Coast bounce creates an undeniably hypnotic & original sound that is all their own.
Tracklist RawlsMatic Intro
Play Your Position
Excalibur
State My Case
Doty X & The Sen
Stay Good
Role Reversal
Brazil
Straight Shot Of Whiskey
Everyday Sh-t
The Brink
The Sun
Xanadu

Key Selling Points
-The powerful duo, Rawlsmatic, consists of respected hip hop producer-DJ’s, Rhettmatic (Member of the World Famous BeatJunkies, Cypress Junkies) & J Rawls (Produced for Black Star, Slum Village, Beastie Boys, & more).
-Their debut collaborative album "Role Reversal" via Chavez Sound features Craig G, Blu, Ras Kass, Illa J & Frank Nitt, John Robinson, Wordsworth, Sadat X & El da Sensei, Trek Life & Supastition, Ann One, Cyrus Baty & B-Jazz.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

7A Records are proud to announce the 50th Anniversary
Edition of Michael Nesmith’s “Pretty Much Your Standard
Ranch Stash” album. The LP version is pressed on 180g
opaque grey vinyl and comes in a gatefold sleeve, includes
extensive liner notes and session details by Andrew
Sandoval and lyrics to all of the songs. Also included is a
bonus track, the 1973 alternate version of “Marie’s Theme”.

The Album:
Nesmith’s time with the Monkees was well and truly in the
rear-view mirror and he needed a new place to live and
work. He caught the ear of Jac Holzman, head of Elektra
Records, and a path forward miraculously appeared.
Realising that most of the record companies at the time
didn’t understand Country Rock, Nesmith convinced
Holzman to start a new label, Countryside. Nesmith would
run the label, put together a ‘house band’ and produce
albums by various up and coming country artists.
Unfortunately, most of the new label’s releases didn’t make much of an impression and Nesmith soon started to
contemplate his own music again. Aided by the power of his Countryside house band, he quickly crafted Pretty Much
Your Standard Ranch Stash, a full and final RCA album. Despite its commercial sheen, Ranch Stash wasn’t a success saleswise and it became the closing remark to a heavy chapter in Nesmith’s life, a final “adios” to Monkee Mike, to the cosmic
cowboy, and to his family, as he moved further on up the trail.

Del Jones, a poet, and proto-rapper, recorded Court is Closed in 1973. It was underground Philadelphia’s response to Amiri Baraka’s and Gil Scott-Heron’s indictments of the Black American experience - a call to action not just for his city, but for the nation. The set includes an oversized 10 page booklet by Jeremy Cargill, with contributions by Now-Again founder Eothen “Egon” Alapatt which delves into Jones’ music, milieu and life as an author, activist and orator, shining a light not only on his prescient awareness of hip-hop, but also on the struggles he confronted, and his urgent, current mandate. Court is Closed, equal parts psychedelic rock and deep funk, had a limited release of 500 copies and was rarely heard before Jones overdubbed horns on the album, remixed and augmented it with additional music, and issued it as the better-known Positive Vibes. Here we present both versions of the album on the 23rd release in the deluxe Now-Again Reserve Edition series. Jones’ story, and that of his family, is like his music: a loud, vital voice long silenced. Understanding it now is not just a visceral musical experience, but an essential dissection of racism and classism in America.

Hawthorne is the powerful new album and short film from Queens-by-way-of-Detroit emcee Motown Priest, a gifted lyricist with a penchant for writing gripping narratives. More than just a gifted storyteller, he also has a phenomenal ear for production that helps to take this project to another level. It’s a cohesive, poignant, and incredible piece of art that serves as a searing look at the world we all live in today. “This album and film weren’t about cheap moralism or heady preaching, it's a very simple idea of confronting who we are, and who we are affects the world around us,” Motown Priest explains. “This is where Hawthorne, in both music and film, connects.” He’s true to his word, too, because the album’s 12 tracks bang just as hard as they make you think. They’re the type of songs you can sit with and unpack, or you can blast them at full volume to make your system rattle - or both. Tracks like “For Sale” and “The Calogero Effect” boast soulful, nostalgic production that fits their more meditative narratives of succumbing to vices and childhood innocence. On the other hand, “Pandora’s Box” straight-up slaps thanks to its distorted guitars and live drums, while “New Religion” is an aggressive, teeth-gritting banger. It’s all part of Motown Priest’s plan to fully engage with his audience while delivering one of the year’s best releases, regardless of genre and medium. In addition to the album, Hawthorne exists as a short film that further explores many of the same themes (ceaseless desire, identity, and capitalism) through the visual format.Within its 35-minute runtime, the film follows the same protagonist as the album, a young man who seeks change and fulfillment but doesn’t consider the pain and damage he causes along the way. It makes for a damning look at so many cultural ills, and it couldn’t have arrived at a more fitting time.

Potent, seductive, and raw, Love You Anyway, the new album from singer, songwriter, multi-instrumentalist Devon Gilfillian is an intoxicating, genre-blasting game changer. A musical polymath with a deep knowledge and love of vintage soul, R&B, rock and hip-hop, the Philly-born, Nashville-based artist’s second full-length LP re-imagines modern soul music by redefining its possibilities. With an incisive eye and unassuming swagger, Love You Anyway, ignites the mind, and makes the body move. Produced by Jeremy Lutito (Joy Oladokun, NEEDTOBREATHE) and recorded in Nashville, Love You Anyway, confronts as well as comforts. Chronicling Gilfillian’s journey as a Black artist living in the tumult of 21st century America, the album’s 10 original tracks, (all co-written by Gilfillian) are as much about fighting for what you believe in, equity and representation, as it is about love: finding it, making it, and channeling it into every facet of our lives.

Halestorm’s ‘The Strange Case of Halestorm’ album is repressed on a single clear LP and is a one-time pressing.
This vinyl release is a part of Atlantic Records' 75th Anniversary vinyl collection.

Jamaican-born trumpeter Dizzy Reece was a fixture of the London jazz scene before moving to New York City in 1959 where he recorded his excellent album Star Bright, a hidden gem in the Blue Note catalog featuring a first-rate hard bop quintet with Hank Mobley on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass & Art Taylor on drums.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

- 180 GRAM AUDI OPHILE VINYL
- GATEFOLD SLEEVE
- PVC PROTECTIVE SLEEVE
- INCLUDES 2 PRINTED INNER SLEEVES WITH LYRICS AND PICTURES

The Soldier's Tale is a theatrical work 'to be read, played, and danced' by three actors (the soldier, the devil, and a narrator) and dancers, accompanied by a septet of instruments. The libretto relates the parable of a soldier who trades his fiddle to the devil in return for unlimited economic gain. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet or trumpet), trombone, and percussion. The libretto is adapted by Roger Waters from the translation by Michael Flanders and Kitty Black, based on the original text by Charles-Ferdinand Ramus.

As the work opens, Joseph, a Russian soldier, marches toward his hometown on leave, pack in tow. ('Marche du soldat'/'The Soldier's March') He rests by a stream and rummages through his pack. First he takes out his lucky St. Joseph medallion, then a mirror, then a photograph of his girlfriend. Finally, he finds what he was searching for: his fiddle. He begins to play. ('Petit airs au bord du ruisseau'/'Airs by a Stream') The devil appears disguised as an old man carrying a butterfly net, but Joseph does not notice him and continues to play. The devil sneaks up on Joseph from behind and startles him.

The Soldier's Tale package includes 2 printed inner sleeves with lyrics and pictures.

Nach der Veröffentlichung des Longplayers "Let The Night Love You" im Juni 2022 sind INVSN nun mit einer 5-Track-EP und vier neuen Songs zurück.

Nach dreijähriger Abwesenheit meldet sich die Band stärker denn je zurück mit dem neuen Angriff "Showdown".

Dieses Album sprengt alles, was ROTN bisher an musikalischem und künstlerischem Schaffen zu bieten hatte, bei Weitem.
Es vereint in Perfektion alle Elemente, die den Erfolg der Band ausmachen: Abgefahrene Grooves gemischt mit kraftvollen Riffs, unterlegt mit dem bereits bekannten Flow von Vithia, sublimiert durch
Eva-B's epische Soli, und das alles verpackt in ihrem einzigartigen japanischen Shonen-Manga-Universum.

Abgemischt von Johann Meyer (Gojira) und gemastert von Ted Jensen (Sterling Sound), bietet "Showdown" auch eine exzellente Produktion. Die Songs sind so vielschichtig, dass du zum Groove mitspringen, zur Härte headbangen und zu den Hardcore-Breakdowns moshen willst.
Beim Thrash-Riffing zermalmst du dir fast den Nacken, die Refrains singst du reflexartig mit und bei den messerscharfen Soli herrscht Gänsehaut-Alarm.
Wenn es eine Band gibt, die durch ihre Originalität, ihr Universum und ihre Musik hervorsticht, dann sind es zweifellos Rise Of The Northstar.










[j] b5. Rise [???]

Nach dreijähriger Abwesenheit meldet sich die Band stärker denn je zurück mit dem neuen Angriff "Showdown".

Dieses Album sprengt alles, was ROTN bisher an musikalischem und künstlerischem Schaffen zu bieten hatte, bei Weitem.
Es vereint in Perfektion alle Elemente, die den Erfolg der Band ausmachen: Abgefahrene Grooves gemischt mit kraftvollen Riffs, unterlegt mit dem bereits bekannten Flow von Vithia, sublimiert durch
Eva-B's epische Soli, und das alles verpackt in ihrem einzigartigen japanischen Shonen-Manga-Universum.

Abgemischt von Johann Meyer (Gojira) und gemastert von Ted Jensen (Sterling Sound), bietet "Showdown" auch eine exzellente Produktion. Die Songs sind so vielschichtig, dass du zum Groove mitspringen, zur Härte headbangen und zu den Hardcore-Breakdowns moshen willst.
Beim Thrash-Riffing zermalmst du dir fast den Nacken, die Refrains singst du reflexartig mit und bei den messerscharfen Soli herrscht Gänsehaut-Alarm.
Wenn es eine Band gibt, die durch ihre Originalität, ihr Universum und ihre Musik hervorsticht, dann sind es zweifellos Rise Of The Northstar.




















[j] b5. Rise [???]

Remastered Deluxe-Ausgabe von Braids legendärem Album 'Frame & Canvas' (1998) zum 25-jährigen, ein genredefinierendes Grundnahrungsmittel und laut Rolling Stone US Rang #5 der Top40 Emo-Alben aller Zeiten. Im neuen Mix von Originalproduzent J. Robbins (The Promise Ring, Against Me!). Braids Einfluss auf zahlreiche Bands und DIY-Szenen, die in ihrem Gefolge entstanden sind, ist enorm und unbestritten. Silberfarbenes Vinyl im neuen Packaging mit zusätzlichen Linernotes von jedem einzelnen Bandmitglied.

Auf 'Onliness' blickt Josienne Clarke retrospektiv auf ihre Karriere zurück - mit Neuinterpretation von Fan-Favoriten, Perlen aus ihrem Katalog und mit einem neuen Song zum Abschluss. Durch eine neue Linse und mit Liebe zum Detail liefert sie eine 17 Tracks umfassende Platte von Herzen für ihre Fans. Erhältlich auf CD und in limitierter Auflage als Doppel-LP.

ElCamino, hailing from Buffalo, New York, had a huge 2022 with the release of his Bethlehem EP with Chase Fetti as well as two solo albums, Let There Be Light and ElCamino 3. ElCamino officially signed to Benny The Butcher’s Black Soprano Family imprint in 2022 and was featured on several acclaimed #BSF releases including “80 Bills,” “We Here” and “Saint Maurice” and the B$F album Long Live DJ Shay. Other collaborations with the likes of 38 Spesh, A$AP Ant, Curren$y, Harry Fraud, Jay Worthy and Keisha Plum have proven ElCamino to be one of the hardest-working artists in the game. His notable performance alongside Wiz Khalifa on “Back to Shore” off of the 38 Spesh and Harry Fraud Beyond Belief album was an easy fan-favorite. Here You Go is another high quality release featuring 9 new tracks with ElCamino standing alone and showcasing his supreme lyrical talent. Pressed On Splatter Colored Vinyl! Limited To 500 Copies Worldwide!

aEast Coast meets West Coast when Brooklyn’s own Harry Fraud teams up with Jay Worthy, the Los Angeles based rapper (by way of Canada) and LNDN DRGS front man, for the release of their collaborative album You Take The Credit, We’ll Take The Check. The duo dropped their last joint project back in 2020, Eat When You’re Hungry, Sleep When You’re Tired, which left their fans wanting to hear from the bi-coastal duo. Fraud and Worthy answered the call back in July of 2022, releasing the 14 track album, You Take The Credit, We’ll Take The Check, across all digital platforms to critical and commercial acclaim. Now available for the first time on vinyl,YTCWTC sounds better than ever. Entirely produced by Harry Fraud, YTCWTC features A$AP Twelvyy, BandGang Lonnie Bands, Big Body Bes, Conway The Machine, Curren$y, Kamaiyah, Larry June, MadeinTYO, Ramirez and Sha Hef.

Neu auf Blue Note: Walter Smith III, 1980 in Houston, Texas, geborener US-amerikanischer Jazz-Tenorsaxofonist, der bereits mit Roy Haynes, Bilal, Destiny’s Child, Herbie Hancock, Wayne Shorter u.a. zu hören war.
2006 erschien sein erstes Soloalbum „Casually Introducing“, 2007 spielte er auf Christian Scotts Album „Rewind That“, das für einen Grammy nominiert wurde. Mit “Return To Casual” greift Smith jetzt erneut sein 2014 veröffentlichtes Album “Still Casual” auf und stellte dafür ein Spitzenensemble zusammen, in dem auch die Blue-Note-Kollegen Ambrose Akinmusire und Kendrick Scott glänzen.

The gentle music and quiet nostalgia of some of the most exquisitely beautiful poetry ever written flows through Hélène Grimaud’s latest album, a tribute to the Ukrainian composer Valentin Silvestrov. Together with baritone Konstantin Krimmel, winner of the 2018 International Helmut Deutsch Lied Competition, Grimaud presented extracts from Silvestrov’s song-cycle Silent Songs at the Stienitzsee Turbine Hall near Berlin last August, in the presence of the octogenarian composer, who has lived in Berlin as an exile from his war-torn homeland since March 2022.

The sun sets over the ranch, a can of beer cracks, and an acoustic guitar
wrangles the day's thoughts and memories into a semblance of orderDuring moments like these, California-born and Nashville-based singer
and songwriter Emily Nenni chronicles her life through delicate songcraft
rife with honky-tonk spirit and spiked with just the right amount of soul
In possession of a deep understanding of music stoked by a lifelong passion and
sharp chops shaped by endless sets in smoky bars and sizzling doublewides, she
asserts herself as the consummate country storyteller on her full- length debut
album, On The Ranch.

Ursprünglich wurde Lost Not Forgotten Archives bereits 1997 als internationale Fanclub-Sammlung veröffentlicht: The Making of Falling Into Infinity (1997) dokumentiert im Detail die Entstehung des vierten Studioalbums der Band. Diese Sammlung, die den Fans einen seltenen Einblick in den Entstehungsprozess eines Dream Theater-Albums gewährt, wurde neu gemastert und ist nun als Special Edition CD Digipak, Gatefold black 2LP+CD, Ltd Gatefold dark green 2LP+CD und als Digitales Album erhältlich.

Voïvod’s commercial peak and one of their many artistic peaks, 1989’s
Nothingface marked a move away from the Quebec metal band’s thrash beginnings to a more progressive rock sound epitomized by their fantastic cover of Pink Floyd’s “Astronomy Domine.” But it remains quintessential Voïvod, complete with sci-fi themes and tricky tempo changes. Long out of print on vinyl, Nothingface returns with a metallic (natch!) red vinyl pressing remasteredfor vinyl by Peter Moore.

For the lowriders, the souleros, and for any armchair drag racer who still has a record player within reach, Mid-Atlantic Story pays tribute to the aftermarket sounds of soul music, inspired by the record industry's metric trunkload of cruising compilations, legitimate and otherwise, that soundtracked an entire subculture. This getaway ride mixtape strips aesthetics from the timeless East Side Story series, and poaches music from the greater Chesapeake Bay region. Roll with a jacked-up masterpiece.

For the lowriders, the souleros, and for any armchair drag racer who still has a record player within reach, Mid-Atlantic Story pays tribute to the aftermarket sounds of soul music, inspired by the record industry's metric trunkload of cruising compilations, legitimate and otherwise, that soundtracked an entire subculture. This getaway ride mixtape strips aesthetics from the timeless East Side Story series, and poaches music from the greater Chesapeake Bay region. Roll with a jacked-up masterpiece.

The New York-based heavy metal band Riot released their third studio album Fire Down Under in 1981, which instantly became their most popular effort and is considered by many to be an early ‘80’s classic. It was the last album to feature the vocalist Guy Speranza.
The album features Riot’s most recognizable and popular tune “Swords
& Tequila” as opening track. Other standouts include the fast-paced title
track “Fire Down Under”, “Outlaw,” and “Don’t Bring Me Down.”
Fire Down Under is available as a limited edition of 750 individually
numbered copies on translucent red coloured vinyl.

UK Hip Hop regulars Lasagna Baghdad (Luca Brazi), Paolo Pumpernickel (Benny Diction) and
Bald Daniels (MNSR Frites) combine forces as their alter-egos for an introspective take on getting
older in rap and an appreciation for the finer things. Expect tales of borderline mid-life crises told
over a background of fast cars and seafood

Former Granville Sessions frontmen and current Moose Funk Squad members have returned.
MNSR Frites, Archetype and Luca Brazi finally join forces for Mustard Tiger, their full-length debut
as a trio.
Having already written and performed nationally together for over a decade, this long overdue LP
showcases the effortless chemistry these respective artists have honed during their time as touring
band members and established solo acts.
Archetype is an audio craftsman, capable of both intricate rhyme schemes and a dynamic vocal
ability to boot. MNSR Frites has flows for days, with unpredictable and complex wordplay that
results in stunning verses. Luca Brazi always delivers hard hitting bars and punchline haymakers,
while providing the stylistic sample based production to formulate the beast that is Mustard Tiger.

Archetype is known to many as one of the frontmen from cult classic Granville Sessions, plus a
founding Moose Funk Squad member. Now, after 5 years in the making his debut album, The Zip
Folder LP is ready for release.
Archetype called upon Granville Sessions MPC don Giuseppe 'Zippo' Falcone for a selection of
samples. After some deliberation and delay these were then fully recreated with live instrumentation, played largely by Ed Koral (another Granville alumnus and multi-instrumentalist); plus the help
of Berlin-based sax and trumpet players Christoph and Yannick.

After the excellent and critically acclaimed Tempo in 2021, Dom La Nena is back with a new and fourth solo album entitled Leon, after the sweet nickname of his cello. An instrumental, intimate, haunted and transcendental setting. A declaration of love to his lifelong accomplice, a return to the roots of great sensitivity.

Nach seiner unerwarteten Rückkehr aus dem 20-jährigen Ruhestand mit dem erfolgreichen Comeback-Album Resurgence im Jahr 2019 meldet sich die Stimme der Hollies - Allan Clarke - mit einem beeindruckenden neuen Album zurück.

I'll Never Forget bringt Allan mit seinem alten Hollies-Bandkollegen Graham Nash von Crosby, Stills And Nash wieder zusammen.
Die beiden alten Freunde aus Manchester begannen während der
Pandemie nach über 40 Jahren gemeinsam zu schreiben, was zu dem mühelos eingängigen Buddy's Back führte, einer Hommage an die Rock & Roll-Größe, nach der die Hollies benannt wurden.

Grahams wunderbare Harmonien sind auf dem gesamten Album zu hören, aber es ist auch Allans Album, das sich mit Spiritualität, Erlösung und Romantik in "The Presence Of You" befasst, dem ersten
Liebeslied, das Allan nach 59 Jahren Ehe für seine Frau Jennifer (die "Jennifer" im Hollies-Klassiker "Jennifer Eccles") geschrieben hat.

"Hollow crown" ist limitiert auf 1000 weiß-orange marmorierte LPs.

Das dritte Album von ARCHITECTS ist nun endlich wieder auf Vinyl erhältlich - als Teil von Atomic Fire Records neuer "Backfire" Serie. Für Vinylfans von Vinylfans.

HEATHEN FORAY haben es sich von Anfang an auf die Fahnen geschrieben, harten Death Metal mit unbeschwerten und eingängigen Melodien zu verbinden, die noch lange im Gedächtnis bleiben. Kombiniert mit Folk-Elementen hat sich diese Herangehensweise ausgezahlt, denn die Band hat sich mit ihren eingängigen Songs und heftigen Riffs eine beachtliche Fangemeinde erspielt.

Während genreähnliche Bands dazu neigen, sich in mittelalterliche Kleidung zu hüllen oder auf der Bühne Wikinger zu spielen, interpretieren HEATHEN FORAY die Verbundenheit mit den heidnischen Bräuchen auf eine moderne Art und Weise

NOAs spannendes musikalisches Projekt von 2019 'Letters To Bach' erscheint endlich auch als Vinyl-LP!
Es handelt sich um 12 Instrumentalstücke von Johann Sebastian Bach, zu denen Noa Texte auf Englisch und Hebräisch geschrieben hat. Es geht dabei um so unterschiedliche Themen wie Technologie und Religion, Klimawandel und Feminismus, Euthanasie, den Israelisch-Palästinensischen Konflikt und Beziehungen im Zeitalter von Social Media. Produziert hat niemand Geringeres als der große Quincy Jones.
Die Arrangements für Gitarre kommen von Noas langjährigem musikalischen Wegbegleiter Gil Dor, bekannt als Gitarrist, Komponist und Arrangeur. Die Auftritte des Duos sind ebenso überraschend wie brilliant. Noas Stimme erhebt sich majestätisch und vereint sich spielerisch mit den Klängen von Gils Gitarre. So stellen sie auch Bachs brilliante Polyphonie ins Scheinwerferlicht. Noa und Gil bringen das vielschichtige Original- Repertoire auf Englisch, Hebräisch und Yemenitisch auf ein Album, akzentuiert durch Noas aufregenden Percussionsstil.

Indie exclusive red vinyl, ltd ed /100. First new studio album in 20 years, produced by J. Robbins & Liars Academy. Indie Exclusive opaque red vinyl. Limited edition of 100. After two decades on pause, Liars Academy return with Ghosts their most massive album to date. Unofficially a followup to 2004's Demons, Ghosts is an evolutionary step forward for the band and testimony to the timelessness of rock music. The swirling energy of 70's guitar rock and the anthemic swagger of 90's radio rock inform the 11 song trip packed with massive riffs, razor-sharp hooks, and scream-along chest beaters--a spectacular come-back album by a band at its peak. Steadfast Records is proud to present the brand new album from Liars Academy. Ghosts is a relentless cache of rock hits from the post-Demon's powerhouse quartet of Ryan Shelkett, Chris Camden, Fred Fritz, and Eric Fauver. Produced by J. Robbins and Liars Academy, mastered by Adam Boose, and vinyl masters cut by Bob Weston.

Indie exclusive red vinyl, ltd ed /100. First new studio album in 20 years, produced by J. Robbins & Liars Academy. Indie Exclusive opaque red vinyl. Limited edition of 100. After two decades on pause, Liars Academy return with Ghosts their most massive album to date. Unofficially a followup to 2004's Demons, Ghosts is an evolutionary step forward for the band and testimony to the timelessness of rock music. The swirling energy of 70's guitar rock and the anthemic swagger of 90's radio rock inform the 11 song trip packed with massive riffs, razor-sharp hooks, and scream-along chest beaters--a spectacular come-back album by a band at its peak. Steadfast Records is proud to present the brand new album from Liars Academy. Ghosts is a relentless cache of rock hits from the post-Demon's powerhouse quartet of Ryan Shelkett, Chris Camden, Fred Fritz, and Eric Fauver. Produced by J. Robbins and Liars Academy, mastered by Adam Boose, and vinyl masters cut by Bob Weston.

BKM Etah 196 - Gatefold Vinyl 180gr - Black - Poster A1 - ltd500
Re-Release of the 1995 original (CD)

French Montana and Harry Fraud reunited to drop one of 2022’s best rap albums. Now they are kicking off 2023 with the release of a vinyl drop of their critically acclaimed Billboard charting album. Peaking at #46 on the Billboard 200 US Chart, Montega delivers what Rolling Stone calls a “delectable array of nouveau boom-bap samples and introspective rhymes that don’t make any obvious concessions to the mainstream.” Entirely produced by Harry Fraud with features from Babyface Ray, Benny The Butcher, Chinx, Est Gee, Fleurie, Jadakiss, Quavo & Rick Ross.

38 Spesh has quietly become tastemakers’ top pick for “next to blow.” Just ask LeBron James, Kevin Durrant, DJ Premier, Sway, Method Man, or Lloyd Banks, all of which have co-signed this Upstate New York emcee. His 7 Shots EP, the third and final instalment in his fan-favorite “Shots Series,” marked the moment that many caught on to the TRUST movement. The 8 track offering gives underground Hip-Hop fans exactly what they want, hard bars over soulful beats. The project features guest verses from Freeway, Ransom, Eto, and Che Noir, as well as production from Streetrunner, The Heatmakerz, LT Beats, Thanos Beats, and more. Mixed and mastered by Chris Pinset Cover by Laz Art Direction by Jordan Commandeur A&R by Ransom









[h] B4. Last Gasp (feat. Ransom & Tearz) [7 Shots Version] (prod. by Mayor, Ty Jamz & Bernard B. Westwood)

Der vierfach Grammy-nominierte Multiinstrumentalist, Produzent und Gründungsmitglied von Porcupine Tree veröffentlichte im März 2009 sein gefeiertes Debütalbum.

Das düstere, cineastische und reichhaltig strukturierte Album besteht aus 10 Tracks, die von Balladen und Hymnen bis hin zu industriellen Lärmattacken reichen. Es ist das Ergebnis von zwei Jahren kreativen Schaffens und zahlreichen Aufnahmesessions weltweit in Studios von Mexiko City bis Japan und Israel.

Reissue als Digipak CD oder schwarzes Doppelvinyl im Gatefold Sleeve
Wilsons Solodebütalbum erschien ursprünglich 2009 auf Kscope

mit Tony Levin, Gavin Harrison, Jordan Rudess, Michiyo Yagi, Sand Snowman und Theo Travis

The Beat Bronco Organ Trio are back with 10 heavy-weight instrumental tracks of the finest quality. "Another Shape of Essential Sounds" sees the Madrid trio stick to their winning formula: sublime Hammond organ grooves, nifty guitar work and dynamic drums combine to produce a rich, uplifting, and vintage sound. Straight to the point, no fillers, and no messing around with the longest cut just over 4 mins, these are irresistible, foot-tapping tunes which sound as good on the dance floor as at a dinner party.

Billie Marten has announced her fourth record Drop Cherries for release on 7 April via Fiction Records. Recorded entirely on tape in Somerset and Wales late last summer, Drop Cherries marks the very first time that Billie Marten has both written and co-produced (with Dom Monks) one of her records; following critically-lauded 2021 album Flora Fauna, Feeding Seahorses by Hand (2019) and Writing of Blues and Yellows (2016).

"This reissue features all-analog mastering from original tapes, pressed on 180-gram vinyl with original artwork reproduced on an old-school tip-on jacket.

2023 is the centennial of Tito Puente’s life and Craft Latino will have initiatives yearlong promoting the legacy of Tito. "

Limitiert auf 300 Exemplare
Die Wiener Beat-Instanz Fid Mella releaste 2022 sein Producer-Tape „Hella Mella Vol.1“. Jetzt gibt
es das Tape auch endlich auf Vinyl, mit Gastauftritten von Kamp, Wandl, Hunney Pimp, Giani,
Young Krillin, Drexor, Mister Mex und den Silk Mob-Kollegen Donvtello, Opti Mane &
Jamin.

French Montana and Harry Fraud reunited to drop one of 2022’s best rap albums. Now they are kicking off 2023 with the release of a vinyl drop of their critically acclaimed Billboard charting album. Peaking at #46 on the Billboard 200 US Chart, Montega delivers what Rolling Stone calls a “delectable array of nouveau boom-bap samples and introspective rhymes that don’t make any obvious concessions to the mainstream.” Entirely produced by Harry Fraud with features from Babyface Ray, Benny The Butcher, Chinx, Est Gee, Fleurie, Jadakiss, Quavo & Rick Ross.

Hailing from Texas, VALENTINO MALTOS is a lifelong musician and renowned saxophonist. Last year he released his debut solo album ‘Analog Future’. We felt this exciting modern music carves out a fresh pathway and warranted a vinyl release. The picks are PROTOTYPE - Valentino’s interpretation of this song serves up breathy vocals from KIIKII STAR, it’s soulful sentiments make it an alluring composition and the saxophone outro is simply stunning!

On the flip JUST LOOK UP is a genre-fusing piece of music with a gospel undercurrent. The message here is unwavering positivity ‘Lift Your Head Up High’ and great vocals courtesy of MARQELL.

The Beat Bronco Organ Trio are back with 10 heavy-weight instrumental tracks of the finest quality. "Another Shape of Essential Sounds" sees the Madrid trio stick to their winning formula: sublime Hammond organ grooves, nifty guitar work and dynamic drums combine to produce a rich, uplifting, and vintage sound. Straight to the point, no fillers, and no messing around with the longest cut just over 4 mins, these are irresistible, foot-tapping tunes which sound as good on the dance floor as at a dinner party.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Black Swan is available as a limited edition of 750 individually numbered copies on silver and black marbled vinyl and includes a 4-page booklet.