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Drawing from the larger career spanning 6LP box, comes a shorter/sweeter collection featuring just the highlights! These are the quintessential compositions and timeless classics that shaped Coltrane's career and influence. Essential listening in compact 2LP.

a Side 1: 23:47
c 1.STRAIGHT STREET - John Coltrane [6:21]
[e] 2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[g] 3.BLUE TRAIN - John Coltrane [10:43]
[i] Side 2: [19:45]
[k] 1.MILESTONES - Miles Davis [5:49]
[m] 2.SO WHAT - Miles Davis [9:08]
[o] 3.GIANT STEPS - John Coltrane [4:48]
[q] Side 3: [18:11]
[s] 1.NAIMA - John Coltrane [4:25]
[u] 2.MY FAVORITE THINGS - John Coltrane [13:46]
[w] Side 4: [16:22]
[y] 1.EQUINOX - John Coltrane [8:39]
[xa] 2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

[a] A1.STRAIGHT STREET - John Coltrane [6:21]
[b] A2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[c] A3.BLUE TRAIN - John Coltrane [10:43]
[d] B1.MILESTONES - Miles Davis [5:49]
[e] B2.SO WHAT - Miles Davis [9:08]
[f] B3.GIANT STEPS - John Coltrane [4:48]
[g] C1.NAIMA - John Coltrane [4:25]
[h] C2.MY FAVORITE THINGS - John Coltrane [13:46]
[i] D1.EQUINOX - John Coltrane [8:39]
[j] D2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

[a] A1.STRAIGHT STREET - John Coltrane [6:21]
[b] A2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[c] A3.BLUE TRAIN - John Coltrane [10:43]
[d] B1.MILESTONES - Miles Davis [5:49]
[e] B2.SO WHAT - Miles Davis [9:08]
[f] B3.GIANT STEPS - John Coltrane [4:48]
[g] C1.NAIMA - John Coltrane [4:25]
[h] C2.MY FAVORITE THINGS - John Coltrane [13:46]
[i] D1.EQUINOX - John Coltrane [8:39]
[j] D2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

[a] A1.STRAIGHT STREET - John Coltrane [6:21]
[b] A2.TRINKLE, TINKLE - Thelonious Monk with John Coltrane [6:41]
[c] A3.BLUE TRAIN - John Coltrane [10:43]
[d] B1.MILESTONES - Miles Davis [5:49]
[e] B2.SO WHAT - Miles Davis [9:08]
[f] B3.GIANT STEPS - John Coltrane [4:48]
[g] C1.NAIMA - John Coltrane [4:25]
[h] C2.MY FAVORITE THINGS - John Coltrane [13:46]
[i] D1.EQUINOX - John Coltrane [8:39]
[j] D2.A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane [7:47]

50th Anniversary on limited edition 180g aquamarine vinyl. Small Change is a masterpiece that contains some of Waits" best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom"s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like "Step Right Up", "Tom Traubert"s Blues", "I Wish I Was in New Orleans", "The Piano Has Been Drinking", and "Invitation to the Blues" are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change is a classic and stands as one of Tom Waits" most popular recordings.

Isao Suzuki's third release for TBM showcases his remarkable versatility, not only on his primary instrument, the bass, but also on electric piano, organ, cello, and even vocals. The album's expansive, spiritual, and blues-infused title track stands out as a particular highlight. Supervised by Koki Hanawa as part of the series.

Seit ihrer Gründung im Jahr 2014 haben sich These Wicked Rivers zu einer der fesselndsten Bands der aktuellen Rock-Revivals in Großbritannien entwickelt. Die aus Derby stammende Gruppe schöpft aus dem reichen Erbe von Rocklegenden und Blues-Größen und hat sich mit ihrem unverwechselbaren, vom Blues geprägten modernen Rock einen Namen gemacht. Dank ihrer Live-Auftritte, die oft eine fast spirituelle Tiefe erreichen, und ihres zeitlosen Songwritings hat die Band in den letzten Jahren enorm an Fahrt aufgenommen. Ausverkaufte Konzerte in Großbritannien, den Niederlanden, Frankreich und Deutschland sowie der große Kritikererfolg ihres zweiten Studioalbums "Force of Nature" (Platz 3 der UK-Rockcharts) haben ihren Ruf als Live-Act, den man unbedingt gesehen haben muss, gefestigt. Das Jahr 2026 verspricht ein Meilenstein für das Quintett zu werden: Im Herbst erscheint ihr mit Spannung erwartetes drittes Album "Fire and Folklore". Aufgenommen wurde das Werk in der Heimatstadt der Band, Belper in Derbyshire, im Heimstudio von Andy Sneap. Unter der Regie des Grammy-Preisträgers Sneap (Judas Priest, Saxon, Megadeth) und Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) ist das bisher ausgereifteste Album der Band entstanden. "Fire and Folklore" geht über den typischen ,Wizard-Blues-Rock"-Sound hinaus und erschließt neue klangliche Territorien; dabei werden Country-Einflüsse und Southern-Rock-Flair integriert, ohne den für die Band charakteristischen Groove und Soul zu verlieren. Zudem ist die aus Derby stammende Country-Hoffnung Kezia Gill als Gastmusikerin auf dem Album vertreten. Geliebt von einer rasant wachsenden Schaar von Fans und ausgestattet mit einem Album, das den Sprung auf die großen internationalen Bühnen anvisiert, stehen These Wicked Rivers bereit, neue Höhen zu erklimmen. Seid dabei, klingt klasse. CD mit zwei Bonustracks, LP als Purple oder Black Vinyl!

This is both a blueprint and a definitive masterpiece. Effortlessly transcending eras and genres, Terumasa Hino continues to captivate audiences around the world.



His sound and presence are truly top of the tops. Long before Japanese jazz was labeled as “Wa-Jazz”, and even before the rare groove movement emerged, Hip Seagull has been shaking dance floors, stimulating listeners, and fascinating collectors alike. Since his debut album Alone, Alone and Alone, Terumasa Hino has remained at the forefront of the scene, consistently delivering works that can be called masterpieces in every era. Among them, this 1978 recording stands out as one of his signature achievements.



From the epic title track “Hip Seagull”, which unfolds from a mystical intro into a jazz-funk journey, to the mellow and cosmic “This Planet Is Ours,” the album is filled with tracks imbued with a truly unique atmosphere.



This is both a blueprint and a completed form. Hip Seagull continues to enchant the past, present, and future alike.

Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

35 Years Fat Wreck, 30 Years Suburban Teenage Wasteland Blues. Pressed to Orange color vinyl, LP features original audio and packaging, CD contains the later remixed audio and a bonustrack. Strung Out's 1996 sophomore LP is a razor- sharp skate punk masterpiece. Fueled by the raw, metallic energy of tracks like "Bring Out Your Dead," "Firecracker," and "Solitaire," it perfectly bridges melody and aggression _ solidifying its spot as one of the absolute best, most crucial releases in the Fat Wreck Chords vault. 30th Anniversary edition features fan preferred original audio from 1996 and original artwork. Pressed to Orange Color Vinyl. Band has committed to an extensive global tour in 2026/27; including Warped Tour and EU festivals and concerts.

Introducing the third volume of the 30yrs of Freerange series. Six original tracks from AtJazz, Blue Method, Megatronic, Andre Lodemann, Manuel Tur & James Kumo.

The eponymous debut EP by London-based dreampop duo deary. The six-track release is available on 12" vinyl, CD with five additional bonus tracks/remixes and digitally. Their debut single 'Fairground', which came out at the end of January, was an instant classic. A mix of shoegaze beauty and trip-hop beats, it was amazing to see people falling in love with it in real time as it gained airplay around the world, a remix by Saint Etienne and hit number one on the Official Charts' vinyl singles chart. The EP includes the follow-up, the deliciously dark 'Beauty In All Blue Satin', and third single 'Sleepsong', plus three more tracks. The CD format adds a cover of Pretenders' "2000 Miles", the Saint Etienne "Fairground" remix and three more versions of that track (a.o. Live and Extended).

Die Guitar Gangsters könnte man getrost als die "older statesmen" des britischen Punkrocks bezeichnen, obwohl sie nie Teil der ersten Welle in den späten 70er waren. Gegründet Ende der 80er Jahre von den Brüdern Pete und Phil Ley hat die Band den musikalischen Schmelztiegel ihrer Heimatstadt London von Punk, Glam, Rock 'n' Roll bis Reggae förmlich aufgesogen. Ihr Debütalbum "Prohibition" erschien dann 1988 bei Link Records. Mehr als 35 Jahre und über 1000 Shows später haben die Guitar Gangsters noch mehr als genug Munition und Durchsetzungsvermögen um auf der "Revolution Street" ganz klar den Ton anzugeben! Wer ihr neues Album hört, wird keine Zweifel daran haben. Mit einer unglaublichen Spielfreude, treffsicheren Gespür für mitreißende Powerchord-Melodien, eingängigen Riffs, Hooks und stilsicheren Ausflügen quer durch alle Rockepochen ist "Revolution Street" ihr abwechslungsreichstes Album geworden_bleibt dabei aber immer unverwechselbar "Guitar Gangsters", eng verwurzelt im Punk Rock. Von klassisch, zeitlosen 77er Punk ("Suck it" up" / "Fake"), Pub- und Garagerock ("Without Prejudice"), RocknRoll und Glam bis zu dem einmaligen "80er feeling" in dem Gitarrenpop mit Punk und New Wave verschmolz ("Invisible"). Und mit "Car Crashed Heart" präsentiert die Band ein von den 50er/60er inspirierten Song, bei dem man förmlich "The Wanderers" auf der anderen Straßenseite erwartet. Da verwundert es auch nicht, dass mit "Baby Blue" die 70er und ein verlorener Rock-Klassiker von Badfinger neu zum Leben erweckt werden_.natürlich auf Guitar Gangsters-Art! Es gibt viel zu entdecken auf der "Revolution Street"! Nach knapp 45 Minuten Spielzeit endet in bester "The Clash"-Tradition mit "Warzone" das Album. Mit einer lässig-coolen Eleganz und großartigen Songwriting haben die Gentlemen des Punk Rocks ihr 12-er Magazin abgefeuert. Jede Menge Spaß, Singalongs und eine gute Zeit ist dabei garantiert! Die Revolution muss nicht immer blutig-aggressiv sein und Street credibility hat man halt, oder eben nicht. Klassisch schwarzes oder mehrfarbiges Splatter Vinyl am Start!

Die Guitar Gangsters könnte man getrost als die "older statesmen" des britischen Punkrocks bezeichnen, obwohl sie nie Teil der ersten Welle in den späten 70er waren. Gegründet Ende der 80er Jahre von den Brüdern Pete und Phil Ley hat die Band den musikalischen Schmelztiegel ihrer Heimatstadt London von Punk, Glam, Rock 'n' Roll bis Reggae förmlich aufgesogen. Ihr Debütalbum "Prohibition" erschien dann 1988 bei Link Records. Mehr als 35 Jahre und über 1000 Shows später haben die Guitar Gangsters noch mehr als genug Munition und Durchsetzungsvermögen um auf der "Revolution Street" ganz klar den Ton anzugeben! Wer ihr neues Album hört, wird keine Zweifel daran haben. Mit einer unglaublichen Spielfreude, treffsicheren Gespür für mitreißende Powerchord-Melodien, eingängigen Riffs, Hooks und stilsicheren Ausflügen quer durch alle Rockepochen ist "Revolution Street" ihr abwechslungsreichstes Album geworden_bleibt dabei aber immer unverwechselbar "Guitar Gangsters", eng verwurzelt im Punk Rock. Von klassisch, zeitlosen 77er Punk ("Suck it" up" / "Fake"), Pub- und Garagerock ("Without Prejudice"), RocknRoll und Glam bis zu dem einmaligen "80er feeling" in dem Gitarrenpop mit Punk und New Wave verschmolz ("Invisible"). Und mit "Car Crashed Heart" präsentiert die Band ein von den 50er/60er inspirierten Song, bei dem man förmlich "The Wanderers" auf der anderen Straßenseite erwartet. Da verwundert es auch nicht, dass mit "Baby Blue" die 70er und ein verlorener Rock-Klassiker von Badfinger neu zum Leben erweckt werden_.natürlich auf Guitar Gangsters-Art! Es gibt viel zu entdecken auf der "Revolution Street"! Nach knapp 45 Minuten Spielzeit endet in bester "The Clash"-Tradition mit "Warzone" das Album. Mit einer lässig-coolen Eleganz und großartigen Songwriting haben die Gentlemen des Punk Rocks ihr 12-er Magazin abgefeuert. Jede Menge Spaß, Singalongs und eine gute Zeit ist dabei garantiert! Die Revolution muss nicht immer blutig-aggressiv sein und Street credibility hat man halt, oder eben nicht. Klassisch schwarzes oder mehrfarbiges Splatter Vinyl am Start!

Die stärksten PERKELE-Songs auf einem Album gebündelt? Mit „Best from the past“ wird dieser Wunsch Wirklichkeit, das Album versammelt 20 PERKELE-Hymnen aus allen Phasen auf einem Tonträger (Vinyl kommt sogar als Doppel-Album). Von Sänger Ron höchstpersönlich zusammengestellt und im beiliegenden Booklet mit Liner-Notes versehen. Die Story hinter dem Text. Alle Klassiker sind an Bord: Von „Cowards“, „Hang’em high“, „Yellow & blue“, „Heartfull of pride“ bis „Göteborg“, „Längtan“, „Moments“, „A way out“ etc. Erscheint nun in 2026 erneut auf Vinyl. Und weil doppelt besser hält: Als Doppel-Vinyl.

Limitiert: 500er Auflage in transparent rotem Vinyl.

Belgian artist Jennifur announces MAZDA, an album inspired by long car rides, emotional transitions, and the strange beauty of existing between places, people, and versions of yourself.

Musically, MAZDA moves fluidly between genres and emotional textures, blending electronic love songs, indie rock structures, UK bass influences, cinematic electronica, and flashes of classical composition.

The project began when Jennifur's brother sent him a playlist called MAZDA, filled with songs their father used to play in the car. What started as a nostalgia gesture quickly became the emotional blueprint for the album.

While writing MAZDA, Jennifur realized he was unknowingly creating the soundtrack to a fictional romcom film that existed only in his imagination. Rather than avoiding clichés like love, heartbreak, growing older, or transition, he chose to embrace them wholeheartedly.

"In a car, you exist in a kind of in-between space," Jennifur explains. "You've left something behind, but you haven't arrived yet. That feeling became the entire record."

The album opener, From A to B, sets the emotional framework for the entire project. Its extended introduction mirrors the exact moment you pull out of your street and realisethat something new has begun.

Highlights include "I Need You To Hold On", written for Jennifur's brother as a message of encouragement. The song "I Once Had a Dream Where I Could Fly" originated from a conversation with his father about recurring dreams of flying. Meanwhile, "From The Sideline" confronts a quieter existential fear, becoming a coming-of-age anthem for anyone who suddenly realizes they have become more of a spectator than an active participant in their own life.

Tracks like "In The Sun" bring a softer, almost cinematic intimacy to the album. Written around the image of spending one final Sunday at the seaside with someone who is seriously ill, the song captures the beauty and fragility of fleeting moments. The closing track "The Dialogue Before We Left" serves as the emotional final scene of the album.

"For me, it's the moment after a long drive when you turn off the engine but stay seated for a minute," Jennifur explains. "You realise something happened. You listened to my story, and we travelled from A to B together."

Experience the emotion of The Last of Us like never before with this stunning Blue & Grey Marble double LP.

Performed by London Music Works, Music From The Last of Us brings together the most iconic themes from the acclaimed video games and TV series, featuring the unforgettable music of Gustavo Santaolalla, along with a piece composed by Max Richter. A must-have release for fans of the franchise and soundtrack collectors alike, presented on a beautifully crafted vinyl edition that is as striking as it is immersive.




[d] a4 The Last of Us (Goodnight) [from "The Last of Us Part I"]
[e] a5 All Gone (No Escape) [from "The Last of Us Part I"]
[f] a6 The Path (A New Beginning) [from "The Last of Us Part I"]







[n] c3 It Can't Last (Sunset) [from "The Last of Us: Season 1"]

[p] c5 All Gone (Flashbacks) [from "The Last of Us: Season 1"]
[q] c6 The Last of Us (Vengeance) [from "The Last of Us: Season 1"]
[r] c7 All Gone (Ephemeral) [from "The Last of Us: Season 1"]

[t] d2 Left Behind (The Journey) [from "The Last of Us: Season 2"]

Maria Taylor is a singer-songwriter and founding member of Azure Ray, known for her hushed vocals, cinematic arrangements, and emotionally intimate songwriting. Her new album Story"s End unfolds like a reflective narrative, shaped by years of writing and profound personal change, where sweeping strings and quiet melodies trace loss, resilience, and transformation.

Surprises are nice. Unexpected, delightful - Vision Fortune last released music in 2015, and so odds were off that we’d hear from them again.

But against all odds, Vision Fortune III is coming out on Gringo Records, following the release of their last album ‘Country Music’ on ATP Records.

The trio first agreed to record a new album as somewhat of a dare over a marathon pasta and wine heavy luncheon in Palermo, Sicily. Waking up with sore heads, they realised in mild panic that flight tickets had been purchased, a cottage in rural Wales was booked, and it was too late to pull out.

And so it was - the Fortunes arrived in Machynlleth Wales in Spring of the following year. The rules were simple - takes were live, songs minimal and the fireplace kept roaring.

Drummer Andres Ayerbe’s strict roast lamb dinner cooking schedule resulted in an album less frenetic and agitated than previous work - instead, III explores a softer, more subdued and subtle side of Vision Fortune. Additional overdubs were recorded in New York City and Birmingham, by AC Williams and Alex Townend. III was completed - a new, leaner Vision Fortune. Like a good lamb dinner - more meat, less fat.

Press Quotes for Country Music:
"An impressively brutal record" NME 8/10

"Immersive and introspective musique concréte rippling rippling with dub rhythms, orchestral strings, tolling bells and discordant drones coming close to the alien beauty of Mica Levi's sonically extreme soundtrack work." Uncut 7/10

"Unsettling, strangely cathartic and hook-free (in a good way)." Dazed ("Twenty albums to look out for in 2015")

"Assembling whole scrapyards of sound and turning them into something better than what went before" The Guardian

"Swaddling the senses in soundwaves, Minimal ambient sketches and harsh electronics abound on this fascinating 12-song affair" The FADER

"Basically just one long, connected droney throb. But it's an awesome long droney throb." Brooklyn Vegan

Kukangendai are the innovative three-piece Kyoto based experimental rock band formed in 2006 with Junya Noguchi on guitar and vocals, Keisuke Koyano on bass, and Hideaki Yamada on drums. Since 2016 the band have set up shop in their studio and venue space, Soto, which houses an incredibly well tuned and powerful sound system that has become a well known destination for touring musicians. In March of 2025, Marionette was celebrating a belated 10 years of activity with label showcases across Japan in collaboration with Dotei Records, and Soto was inevitably one of the stops as many label alumni have set foot in the venue over the years. This is where I got to experience Kukangendai perform for the very first time and knew right then we were destined to work together.

Kukangendai embody an undeniable sense of timing and precision through collage-like repetition of minimalist phrases that manifest as a single unified rhythm. Their latest offering for Marionette, titled Baquet Wheel, is a purely acoustic endeavor, remarkably recorded live using Taku Unami's special binaural microphone. The trio seamlessly twist polyrhythms and melodies rooted in jazz, krautrock, blues, and Tuareg producing a timeless sound that preserves the primitive and memory evoking narratives buried deep within the music. Over the course of five tracks, the visceral nature of Kukangendai’s dynamic evolves from playful riffs that are seemingly familiar yet strikingly original, making it impossible to discern exactly when this material was conceived.

Kukangendai have maintained a prolific yet relatively low profile for the last two decades, with a handful of self-released editions on their own labels (Soto and Leftbrain) as well as a collaborative album with pioneering electronic music composer Ryuichi Sakamoto in 2018, then venturing outside Japan in 2019 to release their first widely distributed album on Ideologic Organ, a label curated by Sunn O)))’s Stephen O'Malley. Other collaborative projects to date include an album produced with rap group Moe and ghosts, live performances with Keiji Haino and with poet Gozo Yoshimasu, productions with the Chiten theater company, and most recently a remix album of their works featuring Carl Stone and Madteo.

The pinnacle of Japanese AOR, delivering the finest mellow sound. The only album left behind in 1982 by the male-female unit of Hiroshi Narumi and Etsuko
Yamakawa is being reissued on clear deep blue colour vinyl.

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.



That initial fearlessness has since fuelled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.



GoldFord’s touring trajectory has followed the music's rapid ascent. He began in intimate rooms like Los Angeles’ Moroccan Lounge and New York’s Baby’s All Right before embarking on a debut North American tour that sold over 25,000 tickets. This momentum carried over to his first UK and European run, which required multiple venue upgrades in cities like London and Manchester. The international momentum continued with an Australian debut in March 2026, alongside key festival appearances at Austin City Limits and Noah Kahan’s Out of the Blue. He is currently headlining 1,000+ capacity venues on the Space of the Heart North American tour, including sold out shows in historic rooms like The Fonda and Webster Hall, with upcoming festival slots at Shaky Knees and Oceans Calling.

Allison de Groot ist eine Clawhammer-Banjo-Spielerin aus Winnipeg, Kanada, deren Schaffen die Old-Time-, Bluegrass- und Folk-Traditionen umfasst. Als Preisträgerin des Steve-Martin-Preises für herausragende Leistungen im Bereich Banjo und als Nominierte für die Auszeichnung ,Instrumentalistin des Jahres" der Americana Music Association ist sie wohl vor allem für ihr Duo mit der Geigerin Tatiana Hargreaves bekannt, dessen Alben ,Hurricane Clarice" und ihr selbstbetiteltes Debütalbum Anerkennung seitens der IBMA, der Canadian Folk Music Awards und der JUNOs fanden. Rich Ruth ist ein in Nashville ansässiger Multi-Instrumentalist (geb. Michael Ruth), der bei Third Man Records aufnimmt. Seine Soloalben schöpfen aus Ambient, Spiritual Jazz, Minimalismus und synthgetriebenem Post-Rock - Kompositionen, die mit sich wiederholenden Drones und Synthesizern beginnen und sich durch Zusammenarbeit weiter entfalten. Er ist zudem ein Drittel von ,Shrunken Elvis", einem Trio aus Nashville, das aus langen Autofahrten durch Europa und winterlichen Jam-Sessions hervorgegangen ist und Ruth mit dem Pedal-Steel-Gitarristen Spencer Cullum sowie dem Gitarristen Sean Thompson in einem gemeinsamen kreativen Raum vereint, in dem Intuition Vorrang vor Ehrgeiz hat. Ihr vielbeachtetes, selbstbetiteltes Debüt erschien im Jahr 2025. Die beiden kamen zusammen, als Ruth im Begriff war, ein Soloalbum für de Groot zu produzieren. Im Laufe von etwa einem Jahr in Ruths Studio in Nashville veränderte sich das Projekt still und leise: Die beiden begannen gemeinsam zu komponieren, und das Ergebnis ist ebenso sehr von Raum und Prozess geprägt wie von der Melodie. De Groots Clawhammer-Banjo durchläuft Loops und Delays und wird dabei mit Ruths Synthesizer- Arrangements so kombiniert, dass die haptische Unmittelbarkeit akustischer Instrumente mit den umhüllenden Eigenschaften der Elektronik in Einklang gebracht wird. Patrick M'Gonigle steuerte durchgehend Violinen- und Streicharrangements bei, während Shrunken-Elvis-Bandkollege Spencer Cullum bei mehreren Titeln seine Pedal-Steel-Gitarre einbringt und der Klangpalette des Albums eine weitere Ebene atmosphärischer Tiefe verleiht. Kurz nach Fertigstellung des Albums präsentierte die Gruppe das Material erstmals live beim Big Ears Festival als einen der Überraschungsauftritte der Veranstaltung - ein reduziertes, minimalistisches Set, das den Geist der Aufnahmen widerspiegelte. Das Album fängt zwei unterschiedliche musikalische Stimmen ein, die weniger einen gemeinsamen Nenner als vielmehr eine neue, gemeinsame Sprache finden.

Valley of the Sun's sixth studio LP, "The Blacklight Sessions", is a deep dive into the sonic roots of the band who continues to defy genre norms. With tracks ranging from blues jam to psychedelic desert trip to driving stoner riffage, the band continues to demonstrate that their music knows no bounds, nor should it.

Hot Pink Vinyl. Valley of the Sun's sixth studio LP, "The Blacklight Sessions", is a deep dive into the sonic roots of the band who continues to defy genre norms. With tracks ranging from blues jam to psychedelic desert trip to driving stoner riffage, the band continues to demonstrate that their music knows no bounds, nor should it.

Lily Juniper's debut album, 'Bloom Gloom' is set for release via Friends of Friends. Co-written and produced by long term collaborator and partner yours.truly, the record holds a mirror up to ourselves and the world around us. Inspired by sounds of the early 2010's post dubstep and indie scenes and written with feelings at the forefront, the album explores themes of self discovery, nostalgia and the endless battle between light and dark, with each track telling a story of what it means to be human:

The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.

This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.

Unglaublich, aber es ist tatsächlich schon zwanzig Jahre her, dass Georg Danzers Album „Träumer“ veröffentlicht wurde. Damals allerdings ausschliesslich als CD, die heutzutage schon fast ein Wegwerfprodukt
wurde. Wer hätte sich gedacht, dass nach der langen Zeit seit der Erstveröffentlichung die grosse schwarze
Scheibe wieder in Mode gekommen ist.
Es lag daher nahe auch Georgs 33. und letztes Studioalbum erstmalig auf Vinyl zu veröffentlichen.
Somit erscheint rechtzeitig zu Danzers 80. Geburtstag „Träumer“ in einer ”20th Anniversary Edition”
als Doppelalbum auf blauem durscheinendem Vinyl mit zwei unveröffentlichten Liedern wie „Ollas hod
sein’ Preis“ das eigentlich für den Austria3-Film „Jackpot“ gedacht war und „Schwoazza Reg’n“, der ursprünglichen Version des Titelliedes „Träumer“.
Georg Tomandl hat alle Titel nach den Maßstäben der modernen Tontechnik neu gemastered.
Die von Gerhard Weber liebevoll gestaltete Klapphülle inklusive aller Texte auf den Innenhüllen verleiht
dieser Veröffentlichung noch zusätzlichen Charme und sollte daher in keinem Plattenschrank fehlen.
Das geschichtsträchtige österreichische Plattenlabel Label „Amadeo“ feiert dieses Jahr sein 70-jähriges
Bestehen. Mit Georg Danzers musikhistorisch bedeutsamen Werk wollen wir gemeinsam Österreichische
Musikidentität feiern.
Georg Danzer „Träumer“ nun erstmals auf translucent blue Vinyl und digital erhältlich.

Oscar Perry may not be a household name even in soul/blues circles, but this Texan's fine and expansive body of work deserves greater recognition. Throughout his career, he demonstrated multifarious talents as a producer, arranger, singer, songwriter and guitarist. He first cut his teeth in the late 1960s on Don Robey's Duke/Peacock/Backbeat set-up, writing for Bobby Bland amongst others. Once his contract with Robey had lapsed, Oscar signed with the equally colourful character Huey P. Meaux, for whom he recorded a slew of excellent albums on the Crazy Cajun imprint. It is the source of the three self-penned tracks presented here. Echoes of Jerry Butler can be heard on the string-laden emotive ballad "We'll Spend Tomorrow Falling In Love" (co-written with studio engineer Mickey Moody) with its femme support, whilst the piano-led deep beat-ballad "End Of The Road" was subsequently recorded by Bland on his Dreamer LP for ABC-Dunhill in 1974. The strong, mid-paced, bluesy "I Give Up You Win" completes this wonderful EP.

Led by Samantha Martin's unmistakable powerhouse voice, Samantha Martin & Delta Sugar deliver an explosive blend of soul, blues, gospel and rock 'n' roll Backed by an 11-piece band featuring a three-piece horn section and soaring vocal harmonies, Martin commands the stage with equal parts grit, grace and emotional force. Two-time JUNO Award nominees and internationally recognized as one of Canada's most compelling live acts, the band has built its reputation through electrifying performances and a catalogue that carries the classic soul DNA of Mavis Staples, Sharon Jones and Otis Redding, delivered with the urgency, volume and energy of a modern rock 'n' roll revue. Released in May 2026, A Beautiful Buzz captures Samantha Martin & Delta Sugar at full flight during the Love Is All Around tour. The album generated immediate international attention, topping the Euro Americana, Big Blues and UK Independent Blues Broadcasters Association and Roots Music Report charts. Rolling Stone France Editor in Chief selected A Beautiful Buzz as one of its "10 Albums to Listen to, "With blazing horns, gospel- charged harmonies and Martin's commanding voice at the centre, A Beautiful Buzz recalls the joyful abandon of Joe Cocker's Mad Dogs & Englishmen while remaining unmistakably their own. Blue Matters described it as "the front row experience, bottled with warmth, fire and unmistakable soul," while Blues in Britain placed Martin "up there with the best of contemporary female vocalists." Building on the album's international momentum, Samantha Martin & Delta Sugar will bring their show to Europe and the UK in May 2027, followed by a second run in November.

As Brice shares, "Anybody can see a sunset, but a sunrise, you gotta earn. Whether you're waking up or just pulled an all-nighter, I tip my hat to you, sunriser." Brice's sixth studio album delivers hopeful and resilient reflections on love, faith, and heartbreak for all sunrisers - from firefighters, nurses, and truck drivers, to blue- collar workers clocking out of graveyard shifts, to tired parents waking up to take care of little ones. Through the lens of what defines who he is -- God, country, and family -- the awardwinning Country star encourages listeners to keep rising.

Miles Davis' quintet formed in 1955 is widely regarded as one of the greatest combos in jazz history. Each of its members was an individual creative force and each could easily have been the leader. Cookin' was the first in a series of four albums featuring this classic all-star combo: Miles Davis, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Like its followers ' Steamin ', ' Workin' and Relaxin' , ' Cookin' is the product of two massively productive recording sessions during May and October of 1956, sessions required to fulfil Davis's contractually obligations to Presage Records before moving to Colombia Records. . A quartet version of the song 'When Lights Are Low' from a previous session has been added to this special edition as a bonus.



[c] When Lights Are Low [Quartet Version]

Co-founder of Pond and touring member of Tame Impala, Jay Watson, also makes music as GUM. “GUM is my brain, unfiltered,” Watson says. A labour of love and an exercise in joy, written and recorded with Ambrose Kenny-Smith, best known as the mesmeric harmonica-player, keyboardist and vocalist with King Gizzard & The Lizard Wizard and The Murlocs. The debut collaborative album between the two is a 10 track exploration into groove, blues and soul, deeply hypnotic from start to finish.

Ltd Edition! Pat Todd & the Rankoutsiders — hervorgegangen aus der Asche der legendären Lazy Cowgirls und angeführt von einem Frontmann, dessen Name seit Jahrzehnten für das raue Herz der amerikanischen Underground-Musik steht — melden sich mit ihrem neunten Album „I’ll Dream Alone“ zurück. Zwölf Songs voller lauter Gitarren, schnörkelloser Storytelling-Tradition und der bekannten Mischung aus knurrendem 70er-Jahre-Punk, Country, Blues und klassischem Rock, die die Band seit den Lazy-Cowgirls-Tagen zum Maßstab für Authentizität in der amerikanischen Rock’n’Roll-Szene gemacht hat. Aufgenommen und produziert von Gavin Ross in den Steady Studios, Burbank, CA — demselben Studio wie die letzten beiden Alben. Pat Todd hat die Songs so geschrieben oder mitgeschrieben, wie es bei den Rankoutsiders Tradition ist — manche jahrelang live erprobt, bevor sie endlich aufgenommen wurden („Ambition Street“), andere direkt im Studio entstanden, mit Texten, die erst zum Schluss dazukamen („We’re Outta Time“, „The World It Don’t Need You“ und der Titeltrack „I’ll Dream Alone“ selbst). Das Album reicht von der an Velvet Undergrounds „Loaded“ erinnernden Ballade „Mediocre Heart“ über den treibenden Soul-Beat von „Beyond the County Line“ bis zum Update eines 60er-AM-Radio-Rockers in „The Last Of Me“. Gitarrist Nick Alexander übernimmt bei „It Ain’t All My Fault“ – nach wahren Begebenheiten – ausnahmsweise den Leadgesang, unterstützt von Stephen Vigh, Kevin Keller und Pat Todd. Den Auftakt macht die erste Single „Desire Has Left Town“, gefolgt von „We’re Outta Time“ als zweiter Single und „Blood & Gunpowder“ am Release-Tag. Die Band unterstützt die Veröffentlichung mit einer Europa-Tournee vom 9. Oktober bis 8. November 2026 und bringt „I’ll Dream Alone“ direkt ab Release quer über den Kontinent auf die Bühne.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Blue Mist Vinyl. ,Free Your Mind And Your Ass Will Follow" ist das zweite Album der Funk-Pioniere Funkadelic, das 1970, nur wenige Monate nach ihrem bahnbrechenden Debüt, erschien. Das Album, das bekanntermaßen aus einer einzigen, von LSD begleiteten Marathon-Session hervorgegangen ist, zeigt die Band bei der Verfeinerung ihres Songwritings, lässt aber dennoch viel Raum für experimentelle Jamsessions. Es markierte den offiziellen Einstieg des legendären Keyboarders Bernie Worrell und erreichte Platz 92 der Billboard Pop-Charts.

Der dritte Teil der Pentimento-Trilogie. Aufgenommen am 23. Mai 2015 in der Londoner St John at Hackney-Kirche während Jon Hassells letztem Live-Konzert, gemeinsam mit Rick Cox und John von Seggern. Themen, Motive und Riffs aus Hassells letzten beiden Alben – "Listening To Pictures" und "Seeing Through Sound" – durchziehen diese einzigartigen, halb-improvisierten Variationen. Sorgfältig abgemischt und bearbeitet von Jon Hassell und seinem langjährigen Weggefährten Jeff Rona, bildet dieses Werk einen würdigen Abschluss für die Renaissance der Pentimento-Reihe in seiner späten Schaffensphase.

Scott Monteith makes his debut on Berlin's own Bright Sounds under his DEADBEAT alias, bringing three unreleased dub tracks steeped in the deep, cavernous low end he's known for. A pioneer of the Canadian dub techno scene, DEADBEAT has spent over two decades shaping the genre's darker, more spacious corners, and this EP marks a fitting first outing for the label. Pressed in a strictly limited deep blue vinyl edition, it's a must for collectors and dub heads alike.

Ecstatic’s dreamiest cadets bliss out on a new album of acoustic and electric guitar, harmonium and synth tapestries, notably nestling a Romance cameo within a genteel toggle of atmospheric pressure.

Back on (side) road after releasing quietly acclaimed kosmische gem ‘I Had too Much to Dream Last Night’ back in 2021 and the lysergic lushness of ‘Listen to the Sky’ a couple of years later, Celestial suggest a more sublime return to earth with the shine-eyed wonders of ‘I Can Hear the Grass Grow’, an album that soothes to the supine in eight shimmering parts of pearlescent melodic motifs marbling harmonious backdrops intended to tenderly comb nerves straight.

The duo take their role as seductive sandmen with a curious melodic wit that leaves something to the imagination whilst nudging it along the album’s narrative thread. A courtly flamenco lick flickers in opener ‘The Endless Stair’, one of the most restrained recordings we've heard from the childhood friends; blessed with just a little reverb and echo, as if a mic's been lowered into some dimly lit basement while Celestial puzzle out mystifying, interlocking harmonies. It hits a mid-point between John Fahey's raga-inspired Americana and Vini Reilly's rain-soaked Northern blues - the emotion throbs from every note.

Celestial's music is never too polished, giving it the fuzzy, uninhibited flair of a long-lost mail order private press and instilling it with a level of humanity that's rare to discover in the new-new age. Even when mysterious labelmate Romance turns up to ornament 'Mermaid Boulevard' with backmasked electronics, it's their low-slung Ry Cooder-esque guitar/bass that provides the narrative anchor, while the title track and spongiform analog textures of ‘Song For The rainy Season’ dial it right down to a Harmonia-via-BoC pastoral sublime. Vini Reilly and Eno’s influence is most surely felt on the swaying elegance of ‘Sweet Sleep, Angel Mild’, with a central motif that lingers on the mind long after it’s stopped playing, whilst their closing couplet perfectly resolves the cycle with a melancholic kiss-off for the ages.

Porch Light's debut album, Hush. Pressed on Classic Standard Black vinyl with a 12” Record Jacket and Printed Inner Sleeve, limited to just 1,000 copies.

The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.

Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.