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Founded by Dennis Quin, Eardrums is all about timeless house music, deeply influenced by the sounds of the UK, US, and the Netherlands. Dancefloor-oriented and driven by authenticity, the label provides a platform for both established artists and emerging talent—no hype, just pure quality.

We're proud to announce the upcoming second vinyl release from Black Teeth Records, and it's a serious one - courtesy of none other than ARtroniks, a Ghent-based producer who's been crafting heavyweight dub-infused pressure since the late nillies. No small name in the game - his work has long resonated in the deeper corners of the bass music world. This new four-tracker is a bold evolution of his sound: a stripped-down, technoid dubstep blend steeped in cyberpunk atmospheres, engineered for proper sound system deployment.

Transit - hauntingly dystopian and beautifully cinematic. A perfect intro, interlude, or ender. Backlash - pure weaponry: sharp, relentless, and built for dancefloor impact. L121 - deconstructed minimalism that cuts deep; skeletal but heavy. Vitamin - hypnotic low-end movement with tight percussive tension.

Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

Welcome aboard captain, long-serving funkadelic maestro Luke Vibert returns to De:tuned with his first new Wagon Christ album in 5 years entitled 'Planet Roll'. Genre-bending as ever, this 16 track collection of electronic lushness sees Luke creating his own innovative take on a multi-diverse sonic world interspersed with rare breakbeats and groovy melodies. Expertly executed by a true pioneer of electronic music. Lay back and see you in an hour!

Animation Director and Illustrator Celyn Brazier created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Welcome aboard captain, long-serving funkadelic maestro Luke Vibert returns to De:tuned with his first new Wagon Christ album in 5 years entitled 'Planet Roll'. Genre-bending as ever, this 16 track collection of electronic lushness sees Luke creating his own innovative take on a multi-diverse sonic world interspersed with rare breakbeats and groovy melodies. Expertly executed by a true pioneer of electronic music. Lay back and see you in an hour!

Animation Director and Illustrator Celyn Brazier created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Romain has been a key innovator in the Hong Kong & Asian music scene for the past 18 years in various different facets, building bridges between cultures and erasing borders through music. He has since taken a step into the world of production and his music has been played by some of the biggest acts in the game such as DJ Harvey, The Black Madonna, Gerd Janson, Horse Meat Disco, Skatebärd, Lauer, Tornado Wallace, Lipelis, Orpheu The Wizard, Kamma & Masalo and many more. Here his musical production story continues with his latest collection of works coming via the esteemed Tokyo imprint, Sound Of Vast.

Leading the release is title-cut ‘Musique De Maison’, a five-minute excursion through organic percussion grooves, snaking elongated bass tones, intricately intertwined vintage-leaning synth melodies and an overall cosmic disco aesthetic that reflects Romain’s borderless, cross-cultural sound. ‘Tonal Spices’ follows and ups the energy levels with a sturdy rhythm section, squelchy acid licks, murky bass stabs, Indian vocals and cinematic strings ebbing and flowing throughout.

Monkey Timers take on ‘Musique De Maison’ next with their interpretation extracting the core essence of the original and reshaping it into a dynamically unfurling rework, fusing fragments of the original with expansive delays, heavy reverberations and modulating synth work. The ‘Psych-O-Delic (Live Mix)’ then concludes the release with off-kilter drums running in combination with, as the name would suggest, tripped-out melodies, processed spoken word and warbling synth licks — a nod to Romain’s playful, surrealist edge.

JP
東京とアムステルダムを股にかけながら、The People In FogやRed Pig Flower、GǼG (Monkey Timers & Keita Sano) 等のリリースを手掛け、オルタナティヴなディスコ/ハウス・レーベルとして存在感を放つSound Of Vast。その最新作は、Romain FXの12インチ！

フランスで生まれ香港/台湾/アメリカで育ったRomain FXはプロデューサーとしてのデビュー以降、自身が主宰するFauve Recordsや禁 JIN、Black Jukebox等で、イタロ・ディスコやプロト・ハウス、アジア産音源等を現代的に昇華したサウンドを展開。特に2024年にSound Metaphors Recordsの傘下から発表したイタロ・ディスコ金字塔"Spacer Woman"のカヴァーは、DJ HarveyやOrpheu the Wizardらのアーリープレイによってディガーたちに衝撃をもたらすと同時に、Romain FXの評価を確固たるものとした。

本作には、溌剌としたシンセの掛け合いにラテン・パーカッションが並走しドリーミーなクライマックスに向かうプロト・ハウス"Musique De Maison"、アフロ/コズミック影響下の初期プログレッシヴ・ハウスが現代のピークタイムとシンクロした"Tonal Spices"、バイレファンキやエレクトロ・ファンクの化合物がバッドトリップ直前まで交錯する"Psych-O-Delic (Live Mix)"といった3つのオリジナル曲を収録。更に今回は、ユニットGǼGとしての怪作を経てPanorama BarをはじめとしたEUツアーを敢行した日本人デュオ、Monkey Timersによる"Musique De Maison"のリミックスも搭載。Droid作品を彷彿とさせるFX処理やグルーヴ脱構築の技法により、本EPにダークな一面を持たせた。

本作に収録されたいずれの楽曲も、Romain FXが辿ってきた陽性のエネルギー溢れる遍歴と練磨されたスタジオ・スキル、現代のダンスフロアのムードが交差しオリジナリティの獲得を目指す、インパクト溢れる仕上がりとなった。近頃はライヴアクトとしても成長を遂げるRomain FXが如何にクラウドを熱狂に陥れているか、想像に難くないであろう。

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.

For over 11 years, Nowadays Records has been shaping the French electronic music scene with boundless energy and total artistic freedom. Much more than a label, Nowadays is a big musical family where every release, meeting and event becomes a real celebration. With over a hundred albums and nearly a thousand titles to its credit, Nowadays Records embodies musical diversity across a variety of genres: abstract hip-hop, house, electronica and alternative pop.



It's in this festive spirit that the Club Nowadays project is born, a true embodiment of the collective's vision. Through its club compilations and evenings featuring label artists and outside guests.



Today, the label continues to chart its course with the release of Club Nowadays Vol. 6, a new opus in its series of compilations, which fully embodies its vision of club music. This sixth volume brings together emblematic figures of the label and emerging artists around the following dance tracks.



Don't Lie, the first single from the compilation, is a heartfelt track born of a broken heart, but turned towards the light. Mira Ló composed this track as an act of resilience, following a break-up in love. She transforms her pain into positive energy, hoping that everyone can recognize themselves in it and find a little sweetness to soothe their own grief.



R1D1 brings together his groovy house and garage influences to create the track Marsupilami around a hand-crafted synth, sharp drums and deep bass. Influenced by hip-hop beatmaking, he incorporates vocals from radio and interviews, transformed into rhythmic elements. The name, a nod to the famous character, comes naturally through the sampled “houba houba”. Between offbeat textures and assertive groove, the track embodies R1D1's singular, hybrid universe.



OOGO & Blanka, two pioneers of the label, offer us Phô Real, a hybrid track between soulful deep house and hip-hop groove, mixing organic and digital textures. A track to get the dancefloor moving, with a delicious nod to La Fine Équipe's culinary universe.



With Tracksuit & Loafers, Yambow creates a bridge between groovy French Touch elegance and the effervescent energy of UK house, in the tradition of producers like Salute and Oppidan. The track is conceived like an acid cocktail: funky, euphoric and dancefloor-friendly. The title is a nod to cultural contrasts - between English tracksuits and French loafers - which translate into a musical interplay between sophistication and fervor.



Finally, Laaanky, the Parisian producer, breaks codes and gives free rein to his passion for raw sound, efficiency and groove on the track Bloom. Between textured house, dub echoes and Afro-tinged post-dubstep rhythms, he explores a danceable, minimalist and percussive electronica. Less is more.

Shoal makes his debut on space•lab with the Ular EP, a four-track expedition that deepens his fluid, percussive and richly textured signature sound.

Blending intricate rhythms with deep organic pulses, each track moves with a focused energy, driven by detailed and layered sound design, offering moments of intensity and spaciousness in equal measure.

From the stomping opener, Ular, to the ethereal roller, Ankasa, the EP is primed for the dancefloor and is a powerful addition to Shoal’s growing body of work – further solidifying his place as one of the most standout producers in contemporary techno.

Catastrophe are back in the spotlight with La proie et l’ombre. In the forest of the world, on the lookout,
Catastrophe stalks the light. Born in 2016, the group has never stopped reinventing itself: now with four voices
(Carol, Pierre, Arthur and Blandine), it presents a chiselled, delicate and restless record, which is as much
contemporary pop as it is cinematic fresco. Distributed by their long time label Tricatel, the LP is released with a
beautiful printed innersleeve

“Vox Flora Vox Fauna” is an invocation in which ECE CANLI channels the voice of Earth itself. A ritual of breath, rebirth, bone, and buried memory. Like the most transcendent moments of Dead Can Dance, the soundscapes are primitive, tribal, atmospheric, and utterly cathartic: echoes of a wounded planet, mourning and resisting at once. They unleash the raw force of Gaia, vibrating through ancient rhythms and spectral chants that seem to rise from the soil itself. In an age of collapse, this is music as prayer, protest, and purification, an elemental cry from the Mother to all who still listen. ECE CANLI “Vox Flora Vox Fauna”. Ltd. Edition Album presented in ONE-OFF truly limited edition of 100 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes a printed innersleeve.

Many Amerindian cultures share the belief that the future lies behind us, while the past is what we face ahead. This challenge to Western chronology is, however, rooted in common sense: the open possibilities of what is to come are, in theory, what we cannot see—the uncertain—whereas the events that have already happened unfold before our eyes and are available for us to learn from.



This second album by Chilean producer, live performer, and DJ Valesuchi could be described as an experiment with time through music. Some years after relocating to Rio de Janeiro, she released Tragicomic LP (2019) on MAMBA rec—a label founded by the boundary-pushing Brazilian party Mamba Negra—and the self-released EP Cascada (2024). In both works, we can already appreciate her musical imprint: rhythmic and emotional timbral lines—wet, filtered, mathematical,

devotional, multilingual, fantastic, and unreal. However, in Futuro Cercano (Discos Nutabe, 2025), we can hear a leap: the sedimentation of her lived experiences in electronic communities across Latin America, her search for a universal yet personal language to convey emotion and new spiritual meaning, finds in this release a consistency and spontaneity that is rarely heard these days.



In a time when all cultural expression is not only expected to be taggable, but is also increasingly produced from templates that precondition our perception—favoring categorization and connections to works or scenes of the past—the tracks on this album are generically unclassifiable. They represent an openness to experiment without prejudice with electronic instruments and rhythms that are asancestral as they are futuristic. They publicly reveal an intimacy born from the compositional process, a bond formed through the encounter—sometimes tense, sometimes harmonious—between human will and that of the machines themselves. Or, as Valesuchi put it, "cyborging my friendship with the machine and becoming a tempest." Tempest as an eruption of the unknown into the present, the result of opening oneself to a nearly meditative state to uncover the deepest feelings through improvisation on cybernetic feedback and loops. And in that improvisation, to develop “técnicas para estirar o medir el tiempo”

“techniques to stretch or measure time” as she sings in 22, the album’s first track. “Connecting knowledges” as a portal to access that future so near it lies behind us, and to anticipate it as intuition and prospection.



That’s why Futuro Cercano is more than just electronic music: it is a technological ritual, an immersion into the secrets that machines hold as artifacts of human and non-human knowledge, as mysterious objects that allow us to connect with our own otherness—the personal alien hiding beneath the skin that opens us up to uncertainty as possibility rather than catastrophe.

Joanna Duda Trio’s new album, 'Delighted' weaves a hypnotic tapestry of sound that immediately captivates the listener. From the very first note, the track invites you into a world where inventive rhythms and melodies dance with a mesmerizing intensity. The crispness of the percussion and the looming intensity of the double bass create a vivid sonic landscape that feels both fresh and accessible, while undeniably complex.

Duda’s composition is one of her strengths, having been sought out to compose the music for the first Polish film for Netflix Originals (Erotica 2022), and she again demonstrates her uncanny ability to blend subtle complexity with melodic piano hooks that ooze playfulness. Beneath the surface a darker, more menacing undertone that keeps the listener on edge.

"This delightful composition was worth the wait" (Twisted Soul Music) "Effortlessly interchanging some mind boggling time signatures, I love their precision" (Soweto Kinch, BBC Radio 3) "To say that Joanna Duda is a jazz pianist is an understatement. The artist transcends musical boundaries, often using jazz as a starting point for broader sonic explorations" (Polskie Radio)

The Trio has an extensive European tour planned to support her album release.

Back on limited classic black vinyl, includes the original 8 track album. At the forefront of the Paisley Underground scene, The Dream Syndicate are one of the most revered indie-rock bands of the 1980s. Medicine Show is the band's second album. Remastered from the original reel-to-reel tapes and featuring liner notes by Steve Wynn. Medicine Show has always been a controversial album, even before it was recorded. The indie rock darlings became the first Paisley Underground band to sign to a major label, hire a mainstream rock producer, change bass players, and spend months recording the album - after having banged out their previous one, The Days of Wine and Roses, in mere hours. After succesful debut and waves of positive press and , A&M Records signed the Dream Syndicate and they went into the studio with producer Sandy Pearlman, who spent five months in the studio guiding the band through their second LP. ... Medicine Show was greeted with openly hostile reviews, largely because it sounded practically nothing like the album that sent tongues wagging two years earlier. ... [...] sounded big and polished, but also dusty and weathered, with the terse, nose-thumbing lyrics of the debut replaced with dark, complex narratives full of bad luck and bad blood backed with booming drums and roaring guitars that were significantly more rockist than what Steve Wynn and Karl Precoda brought to their earlier recordings. Viewed in the context of Wynn's career, Medicine Show marks the spot where the lyrical themes and musical approach of his later work would first come into focus, but it still doesn't bear much resemblance to what the Dream Syndicate would create on their subsequent albums in its grand, doomy tone and obsessive but curiously unobtrusive production style. [...] there are a few great songs scattered throughout (especially "Merrittville" and "Armed with an Empty Gun"), and once it works its way in, the 8:48 of "John Coltrane Stereo Blues" is as potent a guitar workout as anything this band would ever release. [...] Lots of bands let loose with a major-label budget for the first time have made lavish records that didn't quite work, but unlike most of them, Medicine Show doesn't sound like a grandiose waste of money. Instead, it's a widescreen guitar spectacle [...] and if it doesn't always work, enough of it does to make it worthy of serious reappraisal. - allmusic.com

First time on vinyl reissue of this indiepop classic, 15 years after its original release.

Living & Growing was the debut album from The Felt Tips, a Glasgow-based indiepop band that gloriously combined gritty lyrics with sublime jangly guitars. Set For October 17th Vinyl-Only Reissue On Unspun Heroes.

• A band synonymous with the 2010’s indiepop renaissance
• Ten melodious, infectious and utterly unforgettable songs
• Reissued for the first time on EcoVin™ Bio Vinyl

October might not appear to be the ideal time to release a bright and sunny set of songs, but autumnal days bring a mix of dark and light that perfectly matches the overall vibe of the debut album by the jangly indiepop band, The Felt Tips.
 
The Felt Tips debut album was originally released by Peruvian label Plastilina Records in 2010 to much acclaim in the international indiepop scene. The ten songs are crammed full of catchy melodies and chiming guitar riffs, with memorable lyrics covering everything from religious hypocrisy (Boyfriend Devoted) to what teenagers get up to in the park after dark (Lifeskills).
 
It’s clear that these four lads grew up listening to The Smiths – not only name-checking the 80’s indie darling’s frontman and his ever-expanding girth but also deftly leaning into similar unconventional lyrical themes. And while there’s an obvious Belle and Sebastian comparison being Scottish, musically the enigmatic and skillful guitar playing from Miguel Navarro owes more to Bernard Butler and Johnny Marr – and his talents learning flamenco guitar in his native Spain. The weaving of the guitar’s melodic musical backdrop, alongside the pulse of Kevin Carroll’s inventive drumming and Neil Masson’s intricate bass playing, is what truly elevates The Felt Tips.

 And it’s this juxtaposition of bright melodic tunes from the band and the exploration of the darker side of human nature conjured by Andrew Paterson’s lyrics makes The Felt Tips such a noteworthy addition to the indiepop scene.

Originally recorded at CaVa Sound in Glasgow, the album has been remastered and cut for vinyl by Guy Davie at Electric Mastering, and pressed on INEOS EcoVin™ Bio Vinyl at Press On Vinyl in Middlesbrough. New liner notes have been written by Roque Ruiz, the owner of legendary US-based indiepop label, Cloudberry Records. An extremely limited selection of the reissued albums will ship alongside a make-your-own cardboard rose sculpture created by London-based indie illustrator and maker, Hey Kids Rock ‘n Roll.

Original soundtrack of the film Little Amélie, an adaptation of Amélie Nothomb’s ninth novel The Character of Rain (Métaphysique des tubes), published in 2000 and a major literary success.



From Tokyo, Mari Fukuhara composed an airy and playful score for the film. She blends impressionistic piano (Ravel is never far), childhood timbres (marimba, traditional Japanese songs), and orchestral textures. The shakuhachi (flute) and the koto bring in a Japanese touch, at times lyrical, at times mischievous. The result is a reading and listening experience that is both deeply personal and universal.



The album unfolds like a musical tale in its own right, evocative yet profoundly intimate.



Released in France in June 2025, the film is now campaigning for the Oscars and will premiere in the U.S. in the fall.

LIAM GALLAGHER „AS YOU WERE” LIMITIERTE AUFLAGE ALS ZOETROPE-VINYL VERÖFFENTLICHUNGSDATUM: 18. OKTOBER Anlässlich des National Album Day am 18. Oktober wird „As You Were” als limitierte Sonderauflage auf Zoetrope-Vinyl mit brandneuem, maßgeschneidertem Artwork und Packaging veröffentlicht. „As You Were“ wurde ursprünglich am 6. Oktober 2017 veröffentlicht. Das Album war ein kritischer und kommerzieller Erfolg, debütierte auf Platz eins in Großbritannien, verkaufte sich besser als alle anderen Alben der britischen Top-10-Charts zusammen und erreichte in der ersten Woche Goldstatus. Seitdem wurde es in Großbritannien mit Platin ausgezeichnet. Enthält die Singles „Wall of Glass“, „For What It's Worth“ und „Greedy Soul“. TRACKLIST Seite A 1 Wall of Glass 2 Bold 3 Greedy Soul 4 Paper Crown 5 For What It's Worth 6 When I'm in Need Seite B 1 You Better Run 2 I Get By 3 Chinatown 4 Come Back to Me 5 Universal Gleam 6 I've All I Need

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Born in 1934, Freddie King was nicknamed “The Texas Cannonball,” and his powerful guitar playing could certainly knock you flat. In the late 1960s,
a fan and fellow musical king – King Curtis – brought Freddie into the Atlantic Records for a pair of fine albums.

With sax accompaniment from Curtis and piano work by James Booker complementing the axeman's explosive solos,
Freddie King is a Blues Master shows the Rock and Roll Hall of Famer at the top of his game.
Freddie King is a Blues Master is available as a numbered limited edition of 750 copies on translucent yellow coloured vinyl

Swedish singer-songwriter Sophie Zelmani had no musical background whatsoever but managed to rise to the top of the charts with her debut album in 1995.

Zelmani continued to record many albums and has released 13 full-length studio albums so far. Her ninth album Soul was originally released in 2011

and features the duet “For You” with Ethiopian-born, Swedish-based musician Daniel Lemma. Expect a versatile collection of songs blending classic acoustic folk with modern pop sensibilities.
Soul is available as a limited edition of 750 copies on crystal clear vinyl and includes a 4-page booklet with lyrics.

From the bellows of a galactic abyss, n-trip offers their first solo EP release on DU:RA. The label boss reveals 4 deep techno tracks cultivated from an appreciation of the stylings of Valentino Mora, Ntogn and Simone Bauer adjacent sound palettes. Attending festivals such as Organik and experiences with deep techno doofs out in the Aussie bushland has also heavily influenced this release.

Reservation and propulsive sound design shape the tracks for the most part, while aspects of field recordings are littered throughout the release of rocks, leaves and sticks from recent travels. The structural simplicity and minimalistic elements make for perfect DJ tracks to accompany swamp-like sets and throbbing sub basslines are sure to shake any doof or club system.

‘Domina’ opens the release with chiming pads and heavily delayed artefacts invoking an ethereal cosmos of which the kicks and bass gently reinforce in movement. A broken snare beat follows as gradually layers of percussion increase in intensity.

‘MML’ takes what energy has built and adds pounding toms to the rhythm. Harsh live synthesis swells in the backdrop as hi-hats and clicks pan around the white noise and minimal yet intentional synth work.

‘dddBBB’ drops the tempo as it comes in full of field recordings. Taking you on a bushwalk through a desolate dreamscape – it slowly grows and pulsates like a giant snake writhing through the cosmic jungle, stalking its prey.

‘MR13’ then takes these ideas and jacks up the tempo to finish off the release. Shakers pan about as sticks, rocks and leaves reinforce the rhythm. FM chords slowly add life to the beat and are accompanied by giant bassy pads that gradually coalesce into its humble yet driving finale.

All tracks have been produced on Gadigal Land. Always was, always will be Aboriginal Land.

DC Salas is a Belgian DJ and producer from Brussels with Peruvian roots, celebrated for blending house, acid, techno, goa, and early ’90s progressive influences into a distinctive and timeless sound. His music bridges hypnotic grooves with emotional intensity, always crafted with the dancefloor in mind.

Already a part of the Time Passages family through the V.A. compilation Time Passages 24, where he contributed with the track “Perception Of Truth”, DC Salas now makes his full return to the label.

His new four-track EP, “Trapped Inside Your Mind”, expands on his trademark style with depth and precision. Shifting between raw analog energy and atmospheric layers, the record captures both the grit of underground club culture and a sense of introspective exploration—cementing his place as one of Belgium’s most versatile and forward-thinking electronic artists.

Am 26. April 2005 veröffentlichte John Darnielle als The Mountain Goats sein drittes 4AD-Album The Sunset Tree - ein zutiefst persönliches Werk, inspiriert von seiner bewegten Kindheit. Zum 20. Jubiläum erscheint am 17. Oktober 2025 eine Neuauflage (20th Anniversary Edition) mit den 2025er Abbey-Road-Remasters, Original-Artwork und neuem OBI-Design von Chris Bigg, erhältlich digital, auf CD, Kassette und als limitierte apricotfarbene Vinyl. Zudem wurde das Musikvideo zu "This Year", inszeniert von Rian Johnson (Star Wars: The Last Jedi, Knives Out), in verbesserter Qualität neu veröffentlicht. Entstanden Ende 2004 mit Produzent John Vanderslice und Musikern wie Peter Hughes, Franklin Bruno und Erik Friedlander, gilt The Sunset Tree bis heute als eines der kohärentesten und bewegendsten Alben der Band. Die 13 Songs, geschrieben nach dem Tod von Darnielles Stiefvater 2003, zeichnen ein vielschichtiges Bild seiner Jugend - geprägt von Familie, Freunden, Gegnern und einer schwierigen Vaterfigur. Darnielle selbst sagte damals, er habe lange gezögert, dieses Material zu verarbeiten, aus Respekt vor dem eigenen Trauma und weil sein Stiefvater noch lebte. Statt schonungslos bleibt das Album letztlich versöhnlich: "You are going to make it out of there alive", heißt es in den Liner Notes. Auch nach über 20 Alben - zuletzt Jenny From Thebes (2023) - behalten The Mountain Goats kulturelle Relevanz, gefeiert etwa von Jack Antonoff und Stephen Colbert. Darnielles neues Buch This Year: 365 Annotated würdigt das Werk der Band mit einem Song und Kommentar für jeden Tag des Jahres.

MOON DESTROYS wurde von Juan Montoya (ex-Torche) und Schlagzeuger Evan Diprima (ex-Royal Thunder) gegründet und veröffentlichte 2020 die erste EP "Maiden Voyage". Das 5-Song-Debüt entstand unter Mitwirkung von Troy Sanders (Mastodon) und Bryan Richie (The Sword) und legte den Grundstein für die Band, die 2024 mit Sänger/Gitarrist Charlie Suárez (MonstrO) und Bassist Arnold Nese ihre endgültige Besetzung fand. Im April 2025 rückte MOON DESTROYS dann ins wirkliche Rampenlicht, sicherte sich Support-Slots mit Elder und Dozer und veröffentlichten selbst ihr Debütalbum "She Walks By Moonlight" in limitierter Auflage. Dieses neue Album zeigte sofort die rasante Entwicklung, die über die Verbindungen der Mitglieder zu ihren früheren Bands hinausging. "She Walks By Moonlight" ist rau und verzerrt, aber dennoch verschwommen und hypnotisch und wechselt von schimmerndem Post-Rock zu treibendem Riff-Doom und zurück zu shoegaziger Psychedelia. Es ist eine filmische wie jenseitige Reise einer Band, die sich auch mühelos in die Gefilde von Floor, Mother Love Bone, The Jesus and Mary Chain, Russian Circles und Ride begibt und letztendlich alle Versuche einer Kategorisierung in einem sprudelnden, soghaften, funkelnden Dunst zusammenbrechen lässt. Blues Funeral präsentiert nundie weltweite Wiederveröffentlichung des Albums, ein neues Albums folgt 2026. Transzendenter Heavy Psych-Doom für Fans von REZN, King Buffalo, Pelican und Dead Meadow "With She Walks By Moonlight, Moon Destroys proves they're not just refining their sound--they're pushing boundaries, crafting a record that's as meditative as it is crushingly heavy." _Ghost Cult

The legendary Purple Tapes - the first ever Pixies recordings from 1987, officially reissued with new artwork and liner notes detailing the early history of the band. Includes the original recordings of "Here Comes Your Man", "Broken Face", "Down To The Well" & "Rock A My Soul". Formed in 1986 in Boston, Massachusetts, Pixies are one of the key acts associated with the late 1980"s American alternative rock scene and were also considered a big influence on acts such as Nirvana, Smashing Pumpkins and Radiohead.

Im Sommer 1968 traf sich der 18-jährige Genesis P-Orridge (damals Neil Andrew Megson) mit Freunden in einem bescheidenen Dachgeschoss, um mit Klängen zu experimentieren. Das Ergebnis war "Early Worm", eine Sammlung von Aufnahmen, die die aufkeimende Kreativität eines Künstlers einfing, der später eine Schlüsselfigur der Avantgarde-Musik werden sollte. Diese Sessions, die 1969 auf ein einziges Acetat gepresst wurden, zeigen eine furchtlose Erforschung von Geräuschen, Improvisationen und Tonbandexperimenten, die Einflüsse von Psychedelia, Fluxus, John Cage und Beatnik Bohemia widerspiegeln. "Early Worm" ist ein Zeugnis für P-Orridges frühes Engagement, musikalische Grenzen zu überschreiten. Die rohen und ungefilterten Klanglandschaften des Albums bieten dem Hörer einen seltenen Einblick in die Gründungsmomente, die schließlich zur Gründung von COUM Transmissions, Throbbing Gristle und Psychic TV führen sollten. Remastered und in einer limitierten Vinyl-Pressung, mit Linernotes geschrieben von Genesis Breyer P-Orridge, die den Zeitgeist des UK Undergrounds der späten 60er Jahre in Erinnerung rufen. "If nothing else, (Early Worm) revealed that P-Orridge's approach to music was defiantly left-field from the start: noise, improvisations and tape experiments that sounded a little like a more chaotic version psychedelic folkies the Incredible String Band." . The Guardian

Fiddlehead's debut LP Springtime and Blind is an exploration of grief both introspective and through the insight of others. Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration. Springtime and Blind stemmed from Pat's loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. While the process of writing and recording helped Flynn cope with his personal loss there's no doubt it carries a universal message that can help ease others' loneliness. A contrast to itself, Springtime and Blind is a multidimensional and relatable journey through its cathartic message and spirited instrumentals.

Die erste Zusammenarbeit zwischen dem japanischen Noise-Titan Masami Akita, alias Merzbow, dem legendären brasilianischen Schlagzeuger und Produzenten Iggor Cavalera und dem zukunftsorientierten italienischen Gitarristen und Sounddesigner Eraldo Bernocchi, ,Nocturnal Rainforest", schafft eine Klanglandschaft, die fast überwältigend dicht und verwirrend ist, aber niemals aggressiv oder chaotisch. Es ist ein vollständig immersives Erlebnis, das die jahrelange Arbeit des Trios im Bereich der extremen experimentellen Musik neu kontextualisiert, indem es sich auf Textur, Atmosphäre und sensorische Überlastung konzentriert. Der Noise selbst wird verwendet, um ein raffiniertes Maß an Konzentration zu provozieren; ,Nocturnal Rainforest" ist auf seine eigene Weise meditativ und umhüllt die Zuhörer mit Wellen von Verzerrungen, phantasmatischen, ungemessenen Rhythmen und verwirrenden, bearbeiteten Feldaufnahmen, aber es ist nicht für passives Hören gedacht. Entstanden durch eine Fusion von maßgeschneiderten Techniken, die das Trio seit Jahrzehnten entwickelt, existiert es in einer rohen und mystifizierenden Grenzzone zwischen dem organischen Bereich und der digitalen Welt - einem Ort, der zu vertraut ist, um ignoriert zu werden. Als einer der bekanntesten und produktivsten Noise-Künstler der Welt hat Akita vielbeachtete, genreprägende Alben auf so unterschiedlichen Labels wie Relapse, Important Records, Tzadik, Cold Spring und Soleilmoon veröffentlicht und mit einer Vielzahl von Künstlern zusammengearbeitet, von Keiji Haino und Mika Patton bis hin zu Melt-Banana und Boris. Seit 1979 hat er über 500 Merzbow-Alben veröffentlicht, darunter das Tape-Experiment ,Pornoise/1kg Vol.1" von 1984, das bahnbrechende Noise-Wall-Album ,Pulse Demon" von 1996 und das dubartige ,Merzbuddha" von 2005. Cavalera ist vor allem als Mitbegründer der brasilianischen Metal-Band Sepultura bekannt. Seit er die Band 2006 verlassen hat, beschäftigt er sich intensiv mit experimenteller Underground-Musik und arbeitet mit Künstlern wie Laima Leyton, Ninos Du Brasil, Raven Chacon, Linekraft, Petbrick, Pig Destroyer, Soulwax, Dwid Hellion, Shane Embury und anderen zusammen. Bernocchi begann seine Karriere in den 70er Jahren in verschiedenen Punkbands und wurde in den 80er Jahren bekannt, als er das postindustrielle Kollektiv Sigillum S mitbegründete und Kontakte knüpfte, die sich über die gesamte globale Underground-Szene erstreckten. Als aktives Mitglied der einflussreichen Illbient-Bewegung arbeitete er mit einigen der wichtigsten Persönlichkeiten des Genres wie Spectre, Bill Laswell und DJ Olive zusammen und nahm für WordSound sowie das Kult-Hip-Hop-Label Rawkus auf. Bernocchi hat seine innovativen Aktivitäten fortgesetzt, indem er als SIMM mit dem Grammy-Gewinner Grime MC Flowdan zusammengearbeitet und mit Harold Budd, Robin Guthrie von den Cocteau Twins, Gaudi Nils Petter Molvaer, Hoshiko Yamane und vielen anderen aufgenommen hat. ,Nocturnal Rainforest" ist das Ergebnis der kontinuierlichen musikalischen Entwicklung jedes einzelnen Künstlers, angetrieben von extremer Musik, aber gemildert durch Deep-Listening-Techniken, die Präsenz statt Distanzierung erwarten. Auf ,Swietnenia Macrophylla" vermitteln suggestive, feuchte Klanglandschaften zunächst ein prekäres Gefühl der Sicherheit, das an den Rändern durch schnurrende Schwingungen, die die Fauna des Dschungels imitieren, verschwimmt. Und diese Ruhe wird schnell durch perkussive, nebelhornartige Verzerrungen unterbrochen, die das Ausmaß der Vision des Trios verdeutlichen. Es handelt sich nicht nur um rohen Lärm, die raueren Elemente werden durch subtile Wellen wogender Atmosphäre und schwüle Low-End-Drones unterbrochen, bevor der Track in eine Symphonie computergenerierter Stottergeräusche übergeht. Es gibt ein ständiges Hin und Her zwischen organischen und künstlichen Klängen - bevor man sich an den DAW-verfälschten Lärm gewöhnt hat, trüben collagierte Bandübersteuerungen und zerschnittene Verstärkerbrummen die Atmosphäre, verwirren gezielt die Sinne und verschleiern die Quellen. Dieser Gedanke wird in ,Ceiba Pentandra" fortgesetzt, wenn das Trio den wimmelnden Klängen des Dschungels mit knurrenden, surrenden Elektronikklängen und dichten Interferenzen folgt. Was als Vogelgesang und Insektenchor beginnt, verwandelt sich in eine Wand aus ohrenbetäubender, transzendenter Vollspektrum-Textur, die sich wie ein langsam voranschreitender Sturm über einer schattigen Wildnis auftut.

Atua Blues is the meeting of two rare talents, two diverse yet highly complementary cultures, and a deeply rooted desire to blend it all into a kind of communal pot where blues (for the backbone), soul (for the interpretation), and country (for the "exotic" touch) come together to give birth to an album that is simply exceptional. Atua Blues thus brings together Grant Haua, the brilliant Maori bluesman who needs no introduction, and David Noël, the charismatic singer of the Supersoul Brothers, the Paubased band everyone is talking about. Carried by standout tracks such as "River Blues," "No Competition," "I Get The Blues," "What Have We Done," and the moving rendition of "Amazing Grace," this "Two Roots" lives up to its name beautifully, marking a summit encounter of two cultures bound by a shared passion-a sentiment perfectly encapsulated by the surprising cover of "My Sweet Lord," sung in English, Maori, and Occitan.

With X-ÆON, Giöbia push their signature blend of mesmerizing neo-psychedelia and space rock into uncharted territory. Echoes of the '70s meet a bold, forward-looking vision, shaping an album that feels timeless. Each track offers a glimpse into a parallel reality, a plunge into a new era brimming with tension and mystery. As the band puts it: "This album is everything we've lived and learned, captured in the moment we're in now."

Aque Blue vinyl, limited to 350 copies. With X-ÆON, Giöbia push their signature blend of mesmerizing neo-psychedelia and space rock into uncharted territory. Echoes of the '70s meet a bold, forward-looking vision, shaping an album that feels timeless. Each track offers a glimpse into a parallel reality, a plunge into a new era brimming with tension and mystery. As the band puts it: "This album is everything we've lived and learned, captured in the moment we're in now."

Nach über drei Jahrzehnten endlich neue Musik der Schweizer Metal-Pioniere CORONER. „Dissonance Theory“ enthält 10 neue Songs auf 47 Minuten, aufgenommen von Tommy Vetterli in den New Sound Studios in der Schweiz und gemischt/gemastert von Jens Bogren in den Fascination Street Studios in Schweden (Opeth, Kreator, Amon Amarth, etc.). Erhältlich als Limited 2CD Mediabook (mit erweitertem Booklet und dem legendären „Death Cult“-4-Track-Demo von 1986 – mit Tom G. Warrior Triptykon, Celtic Frost, Hellhammer am Gesang – als Bonus-CD), Standard-CD-Jewelcase und LP auf 180g Vinyl. Brutale Präzision. Unerbittliche Klarheit.

23 Live-Tracks von der gefeierten Luck and Strange Tour auf 4 LPs in 2 Doppel-Gatefolds und Schuber. Enthält ein 24-seitiges Booklet mit Fotos von der Tour. Produziert von Charlie Andrew und David Gilmour.

Die Tour begleitete Gilmours fünftes Soloalbum Luck And Strange, das #1 in Großbritannien, Deutschland (seine erste #1 dort), Polen, den Niederlanden, Tschechien, der Schweiz, Portugal und Österreich erreichte.

Die Shows begannen mit zwei ausverkauften Warm-up-Shows im Brighton Centre, bevor sie für sechs ausverkaufte Abende in den Circus Maximus in Rom umzogen, gefolgt von der gleichen Anzahl in der Londoner Royal Albert Hall, bevor sie für ausverkaufte Abende im Intuit Dome und der Hollywood Bowl in Los Angeles in die USA zogen und mit fünf ausverkauften Abenden im Madison Square Garden in New York endeten.

Alle dreiundzwanzig Termine waren ausverkauft, und da keine neuen Shows in Sicht sind, sind »The Luck And Strange Concerts« die beste und einzige Möglichkeit, den Meister seiner Kunst auf der Bühne zu erleben.

Die schottische Folk-Punk-Indie-Band Brògeal veröffentlicht am 17. Oktober das Debütalbum „Tuesday Paper Club“ über Play It Again Sam. „Tuesday Paper Club“ vermischt Romantik, Verlust, Nostalgie und Unfug und kreiert einen Genre-Mix der kurz vor dem Siedepunkt steht. Das Album ist vollgepackt mit Instrumenten wie Akkordeon, Banjo, Bouzouki, Mandoline und einer flotten Penny Whistle. Es verbindet alte Folk-Traditionen mit dem Indie-Gefühl der Gen Z und kreiert einen Sound, der angesichts der Dunkelheit des 21. Jahrhunderts lacht, singt und tanzt.

Das Album wurde im Black Bay Studio, in einer ehemaligen Fischverarbeitungsfabrik auf der Isle of Lewis aufgenommen, mit einem atemberaubenden Blick auf die Bucht. Aufgenommen haben die fünf Bandmitglieder das Album zusammen mit dem irischen Produzenten Richie Kennedy, der schon mit Künstler*innen wie The Libertines, The Last Dinner Party, Interpol, Dua Lipa und U2 gearbeitet hat.

Zum 30-jährigen Jubiläum des legendären HELP-Albums veröffentlicht War Child Records eine streng limitierte 7”-Box-Edition (nur 500 Exemplare, einzeln nummeriert, mit bislang unveröffentlichten Fotos).

Das 1995 in nur einem Tag aufgenommene und von Brian Eno gemischte Album gilt bis heute als bedeutendstes Charity-Album aller Zeiten. Es vereinte Größen wie Oasis, Blur, Radiohead, Massive Attack, Portishead, Neneh Cherry sowie das Superprojekt The Smokin’ Mojo Filters (Sir Paul McCartney, Paul Weller & Noel Gallagher).

Das Album entstand als Reaktion der Musikindustrie auf den Jugoslawienkrieg und brachte mehr als £1,25 Mio. für die Kinder in Bosnien ein.

Ein unverzichtbares Sammlerstück – Musikgeschichte und Charity vereint in einer einzigartigen Edition.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Um 60 Jahre dieser unglaublichen Reise zu feiern, nimmt „From The First Sting“ Sie mit auf eine Reise
durch die legendärsten und prägendsten Epochen der Band. Mit 31 handverlesenen Titeln präsentiert diese
Sammlung die jahrzehntelange Arbeit der Band, darunter zwei unveröffentlichte Songversionen.
Erhältlich als limitiertes Deluxe-Bookpack (mit zwei sparkling -LPs/2 CDs und einem 40-seitigen Buch),
als 2-LP-Gatefold auf schwarzem 180-g-Vinyl oder als 2-CD-Digi-Sleeve, wirft diese umfassende Veröffentlichung ein bleibendes Licht auf die Karriere dieser einflussreichen Meister des Genres.

Im Juni 1964 nahm Gitarrist Grant Green seine fulminante Post-Bop-Session für „Solid“ auf, ein Album, das
bis 1979 unveröffentlicht blieb, da Blue Note mit den Soul-Jazz-Auftritten des Gitarristen Erfolg hatte. Bei
diesem Auftritt spielte der Gitarrist in einem hochmodernen Sextett mit Joe Henderson, James Spaulding,
McCoy Tyner, Bob Cranshaw und Elvin Jones.

Sie sind ein Mythos, der bis heute ganze Generationen nachfolgender Post-Punk- und Dark Wave-Formationen
inspiriert: Mit ihrem klirrend-kalten Gitarrensound und den ebenso unterkühlten Vocals von Frontfrau Anja
Huwe trugen Xmal Deutschland maßgeblich zur Entwicklung der Schwarzen Subkultur bei. Nachdem das
letzte Album der 1990 aufgelösten Kultband fast dreißig Jahre lang vergriffen war, erscheint „Devils“ nun
als strikt limitierte, ergänzte Bonustrack-Edition in rotem Doppel-Vinyl.
Nachdem der seinerzeit ausschließlich in Deutschland und Kanada veröffentlichte Longplayer in den letzten
drei Dekaden restlos vergriffen war und nur auf Plattenbörsen zu Höchstpreisen gehandelt wurde, erscheint
Xmal Deutschlands lost Album nun als erweiterte 2LP-Version in rotem Vinyl. Neben der Original-Tracklist
enthält „Devils“ eine zweite LP, auf der sich die ebenfalls gesuchten 12“-Versionen der beiden Auskopplungen „Dreamhouse“ und „I‘ll Be Near You“ plus weitere Bonus-Tracks befinden, so z.B. das kongeniale Billy
Bragg-Cover „The Girl In The Iron Mask“. Mit der Neuauflage von „Devils“ wird das Abschiedsalbum von
Xmal Deutschland erstmalig einem globalen Publikum zugänglich gemacht.

Leading Danish contemporary jazz label April Records is proud to present Well, actually..., the third album from Polish acoustic jazz quartet O.N.E. Grounded in the spirit of democracy andcollective improvisation, the album offers a tightly woven set of original compositions that blur the lines between modal jazz lyricism and the raw energy of free improvisation.The band name O.N.E. is a clever double entendre: in Polish, "one" (pronounced oh-neh) means "they" in the feminine plural - an apt nod to the all-female lineup. In English, of course, it signifies unity. Both meanings reflect the band"s egalitarian, leaderless approach and cohesive group sound.Almost three years after the recording of their previous release Entoloma(Audio Cave), the group reunited in December 2024 at Studio S4 in Warsaw to record a fresh set of ten compositions. Spread over two sides, the album captures the continued evolution of a band that thrives on interaction, trust, and shared purpose - even in a society fractured by post-pandemic socio-economic uncertainty and political ambiguity. Featuring contributions from all four members - pianist Kateryna Ziabliuk, saxophonist Monia Muc, bassist Kamila Drabek, and drummer Patrycja Wybranczyk - the recordreflects their commitment to artistic democracy. Each voice is given space, yet the music always feels greater than the sum of its parts. Even on the miniature solo track solo form, the other three players remain present, supportive, and responsive. From Ziabliuk"s percussive piano textures and dreamlike voicings on tracks like Osloand Berio, to Muc"s expressive, woody tone on alto and baritone sax, each piece explores dynamic interplay and shifting emotional landscapes. Drabek"s resonant, grounded bass - by turns lyrical and propulsive - provides a central thread, while Wybranczyk"s drumming fizzes with precision and imagination, as heard on Cipherand the angular closer Sneaking Around.Together, these four distinctive creative forces have developed a shared language built on mutual respect, long-term collaboration, and deep listening. Their concerts across Europe (including Jazzahead, B-Jazz, Umea, and the Edinburgh Jazz & Blues Festival) haveaffirmed their standing as a boundary-pushing group with something new to say.








[f] [SOLO FORM]

Originally released in 2012, "Choice of Weapon" was recorded in the California desert with Chris Goss at the helm and finished by long-time collaborator Bob Rock. Driven by the lead single For the Animals, "Choice of Weapon" earned iTunes" Rock Album of the Year in 2012 and debuted at #1 on the UK Rock Chart. Out of print since the original pressing, it has become one of The Cult"s most sought-after modern releases. Pressed on Limited Edition colour-in-colour effect vinyl: LP1 red & black, LP2 purple & black. Gatefold Sleeve.

"Hidden City" (2016) is The Cult"s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It"s the final part of a trilogy that witnessed the rebirth of the band, beginning with "Born Into This" (2007), which evolved into "Choice of Weapon" (2012), and arrived fully formed, kicking and screaming with the seductive "Hidden City". The sonic assault of "Dark Energy" is the perfect intro to this album. Peel away the layers of this 12-track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception. Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios.

"Hidden City" (2016) is The Cult"s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It"s the final part of a trilogy that witnessed the rebirth of the band, beginning with "Born Into This" (2007), which evolved into "Choice of Weapon" (2012), and arrived fully formed, kicking and screaming with the seductive "Hidden City". The sonic assault of "Dark Energy" is the perfect intro to this album. Peel away the layers of this 12-track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception. Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios.

"“The strongest Cult songs in years.” ★★★★ --The Guardian

Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios. Pressed on Limited Edition Coloured vinyl: LP1 red, LP2 white vinyl.

Hidden City is The Cult’s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It’s the final part of a trilogy that witnessed the rebirth of the band, beginning with ‘Born Into This’ (2007), which evolved into ‘Choice of Weapon’ (2012), and arrived fully formed, kicking and screaming with the seductive ‘Hidden City’

The sonic assault of ‘Dark Energy’ is the perfect intro to this album. Peel away the layers of this 12 track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception."

"“The strongest Cult songs in years.” ★★★★ --The Guardian

Remastered for vinyl by Justin Shturtz at Sterling Sound, and cut by John Webber at Air Studios. Cut at 45 RPM for a superior sound. Pressed on black audiophile vinyl at Optimal, Europe’s premium pressing plant. This CV 45 Edition comes with an individually numbered obi strip.

Hidden City is The Cult’s tenth studio album - produced by Bob Rock and written by Ian Astbury and Billy Duffy. It’s the final part of a trilogy that witnessed the rebirth of the band, beginning with ‘Born Into This’ (2007), which evolved into ‘Choice of Weapon’ (2012), and arrived fully formed, kicking and screaming with the seductive ‘Hidden City’

The sonic assault of ‘Dark Energy’ is the perfect intro to this album. Peel away the layers of this 12 track master class in space and time, and you will discover a band in their absolute prime. Which comes as no surprise, as the Cult have existed in the shadows and wild spaces since their inception."

"“Their best album in years – probably decades.” – Record Collector
Pressed on Limited Edition colour-in-colour effect vinyl: LP1 red & black, LP2 purple & black in a Gatefold Sleeve.

Originally released in 2012, Choice of Weapon was hailed as The Cult’s most vital work since their ’80s heyday – a powerful, mature record that proved Ian Astbury and Billy Duffy still had fire to burn. Recorded in the California desert with Chris Goss at the helm and finished by long-time collaborator Bob Rock, the album channels the lush guitar layers, earworm melodies, and gothic swagger fans love, while venturing into fresh territory – from the blues of A Pale Horse to the stomping drama of Honey From a Knife.

Driven by the lead single For the Animals, Choice of Weapon earned iTunes’ Rock Album of the Year in 2012 and debuted at #1 on the UK Rock Chart. Out of print since the original pressing, it has become one of The Cult’s most sought-after modern releases."

"Across eleven cinematic tracks — each a melodic treasure and short film — Dienel probes: What does freedom look like when rooted in presence, not escape? “Joy, especially queer joy, is revolutionary,” they muse. “Even in the face of everything else, I wanted to show that happiness is still possible — and necessary.”
The record was brought to life with an impressive ensemble of collaborators: producer Adam Schatz (Japanese Breakfast, Neko Case), bassist Spencer Zahn, guitarists Carly Bond (Meernaa) and meg duffy (Hand Habits), drummer Max Jaffe, mixing engineer Jake Aron (Solange, Snail Mail), and mastering engineer Heba Kadry (Björk, Sade). Breaking from their usual DIY approach, Dienel embraced the power of the collective — an experiment in trust, connection, and openness.
Tonally influenced by My Own Private Idaho and widescreen pop, such as Born in the U.S.A., My Heart Is An Outlaw is a warm-hearted exploration. Can we love fully without being domesticated? Can we resist cultural scripts by choosing presence and community over self-erasure? As they put it, “The heart has a mind of its own…It’s the thing holding you back that you have to set free on your own time, in your own way.”
From the early days of White Hinterland to the lush orchestral pop of her solo work, Dienel has consistently bent and challenged the boundaries of independent music. My Heart Is An Outlaw continues that legacy — an unapologetic, joyous declaration of queer love and creative agency."

Sleepytime Trio was a post-hardcore band that formed in 1995 in Harrisonburg, Virginia. Originally a side project of the band Maximillian Colby, they quickly took off as they played shows around the mid-Atlantic region; building a reputation for their volatile, emotional sound and unpredictable live energy. Their shows were notorious for exploding into controlled chaos. They were a cacophony of tangled limbs, busted gear, and a visceral sense that everything might combust in a split second. In 2024, Solid Brass Records partnered with Sleepytime Trio and their longtime label, Lovitt Records, to begin work on a discography to memorialize this important band. 'Memory Minus Plus Minus' is a 14 track collection. Numerous songs have been remixed by J. Robbins at Magpie Cage Studio for improved quality and everything has been remastered by TJ Lipple. Limited edition opaque bublegum colored vinyl comes in a gatefold jacket and includes a booklet with extensive liner notes and full “gigography” documenting their shows from 1995-2018.

Recorded in a sweaty flurry at a vital moment in Nuzzle’s ‘90s run, ‘Follow, for Now’ is raw, loose, and fierce. Less than 1,000 copies were originally pressed in 1995 and songs like “The Sorting That Evens Things Out” and “Newfoundland,” became the band’s most ballyhooed; both live at the time and on CD and streaming in the decades since. This 30th Anniversary Reissue has been remixed and remastered from the original tapes and keeps the original’s urgency and adds essential upgrades. FFO: Unwound, Lync, Clickatat Ikatowi.

"While playing for Phil Lesh, I became friends with his son, Grahame, and we started booking shows called Dead Blues, a Phil and Friends offshoot that used the traditional blues and folk songs from the Dead catalog as a vehicle to bring new musicians from the blues and rock scene into Phil’s orbit. For example, we brought Phil together for the first time with the Blind Boys of Alabama, Charlie Musselwhite, G Love, JD Simo and many others new to Phil’s community.
Dead Blues was a great concept for live shows but I never considered making an album until I met singer Datrian Johnson, one of the most moving singers I’ve ever worked with. John Medeski brought Datrian into the community and we instantly became friends and collaborators and began recording the songs on Dead Blues Volume 1, reinterpreting the American classics.
The tracks feature North Mississippi Alumni Cody Dickinson and Rayfield “Ray Ray” Hollowman, as well as old friends from Memphis, Paul Taylor/New Memphis Colorways also on drums, bass and guitars and Steve Selvidge on Space Funk guitar. I found that writing the music on bass (then adding keys and guitar) led the music down a funky, jazzy avenue and Datrian worked his magic, reinterpreting the classic blues lyrics and melodies with his soulful vocals."

The Scunthorpian partners-in-crime Rupert and Henry Stansall, mythologized in wanted posters as Ruen Brothers, are back in the saddle with their fourth studio album: Awooo. Titled after the lycanthropic howling chorus of their melancholic track “Sitting at the Station,” Awooo finds the duo on the road again, full of ruminative wanderlust and exploring sprawling, dark deserts, carrying with only their songbook of western-inspired folklore. The meditative, building desire of “The Cabin on the Hill,” the pensive yearning etched inside “Poison Down the Wire,“ and a tasteful reimagining of the tried-and-true traditional “Mama Don’t” that could easily pass as an original, all exhibit the creative growth that these young troubadours have established over their decade-long career. This limited indie exclusive pressing of Awooo is pressed on frosted shadow color vinyl and is autographed by both Henry and Rupert Stansall and is limited to 200 copies worldwide.

After their first joint recording experience in 2022, in which they dedicated a monograph to the Beatles, revisiting their great classics,
Sarah Jane Morris, a British jazz, rock, and R&B singer and songwriter, and the Solis String Quartet, a Neapolitan string quartet with
extensive concert and recording experience, are embarking on a new album. This time, it's not a monograph, but a tribute to a series
of artists who have left an indelible mark on the universal music world with their art and unique lifestyle. The project is titled "The 27
Club," a reference to those artists who, despite not choosing to belong to any elite circle, were united by the fate of having left this
world too soon, at just 27 years old. Among them are great names such as Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, Amy
Winehouse, and Otis Redding. Despite their differences, these artists share a charisma and a passion for music that has made them
immortal. Their musical legacy continues to celebrate their memory and inspire new generations. The album is a tribute to these timeless
artists, whose songs remain timeless and continue to move. Forever Young.
"After our first recording collaboration with Sarah Jane Morris in 2022, in which we dedicated a monograph to the Beatles, revisiting
their great classics, we decided to take on a new challenge, no longer a monograph but a work dedicated to a series of artists who have
unmistakably marked the universal musical world with their art and their very particular lifestyle! We called it "Forever Young" and it
tells the story of the "Club of 27" in music; an imaginary, dark and very elitist circle in which artists of the caliber of Jimi Hendrix, Janis
Joplin, Jim Morrison, Kurt Cobain, Amy Winehouse, Otis Redding found themselves enrolled, certainly unwillingly and without their
knowledge, after death snatched them from success on the threshold of twenty-seven, only to restore them, almost as compensation,
to immortal glory, just a stone's throw from legend. Musically speaking, thanks to the overflowing evocative power of Sarah Jane Morris's
voice, it was both fascinating and stimulating for us to try to restore It integrates the idea and mood that permeated and still live on in
these compositions, the rhythm, the melody, and the lyricism, in an original reinterpretation that accompanies the listener in the rediscovery of these masterpieces! Solis String Quartet
"Greatly talented creative people often die young, like Keats, Mozart, Schubert, Raphael, and the Brontë sisters. We tend to think of
them in two ways: we wonder what they might have accomplished had they lived longer. However, more positively, we can appreciate
their youthful talents as impervious to the passage of time, their brilliance preserved in their eternal youth. They will remain forever
young." Sarah Jane Morris

Jahre vor Connie Francis’ viralem TikTok-Moment mit ”Pretty Little Baby” war sie die fleißigste Frau im
Showbusiness: Mit 24 Jahren hatte sie bereits drei Nr. 1-Hits in den Hot 100, war zwischen 1959 und 1964
die meistverkaufte Sängerin und verkaufte im Laufe ihres Lebens weit über 100 Millionen Platten.
Dieses Weihnachtsalbum, das ursprünglich 1959 veröffentlicht wurde, zeigt die Königin auf dem Höhepunkt
ihrer Herrschaft über die globale Popkultur.
Ab jetzt erhältlich als Standard 1LP auf schwarzem Vinyl, als 1LP auf Lippenstift roter Vinyl und auf einer
CD mit zusätzlichen zwei Bonustracks.

Enjoy The Ride Records, in partnership with Paramount Music, proudly presents Beverly Hills Cop II Original Motion Picture Score, Composed by Harold Faltermeyer.

Back again for the 1987 sequel starring Eddie Murphy, Judge Reinhold, and John Ashton, and directed by Tony Scott, Faltermeyer (Top Gun, Fletch, The Running Man) brings back the iconic Axel Foley theme, along with the rest of the score (and a couple of bonus tracks, too).

Enjoy The Ride Records, in partnership with Paramount Music, proudly presents Beverly Hills Cop III Original Motion Picture Score, Music by Nile Rodgers.

Eddie Murphy and Judge Reinhold return for the third installment of the series, and the franchise was graced with some new faces behind the scenes: Director John Landis (Animal House, Thriller, Coming To America), and Musician, Producer, and Songwriter Nile Rodgers (Chic, David Bowie, Coming To America).

Homage is paid to Faltermeyer's beloved Axel F, with a funky and fun rendition performed by Rogers and Richard Hilton, but with the addition of an orchestra to the band and synths, the action-packed score takes a fun, dynamic direction that suits the film perfectly.

Beverly Hills Cop III Original Motion Picture Score is available for the first time on 2xLP vinyl. It contains the full score, plus alternate score tracks, unused demos, and bonus tracks. Housed in a gatefold jacket (which features a WonderWorld theme park map, recreated by Dan Goldwasser) and red poly-lined inner sleeves, the pressing is limited to 1,000 copies across four colorful themed variants.

Black Ice w/ Orange + Yellow + Bone Splatter Vinyl mit einer grün bedruckten B-Seite. Enthält ein beidseitig bedrucktes Einlegeblatt und eine Download-Karte.