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Bonnie 'Prince`Billy kehrt am 6. März 2026 mit dem Album 'We Are Together Again' zurück. Das Album ist warm und persönlich und außerdem so angelegt, dass es mit denselben Worten beginnt und endet: 'Why is the lion still here, outside?'

Thematisch ist das Album tief in Louisville, der Heimatstadt von Bonnie „Prince“ Billy, verwurzelt. Es feiert die Kraft von Freundschaft, lokaler Gemeinschaft und gemeinsamem künstlerischem Schaffen. Damit setzt es bewusst einen Kontrapunkt zur Globalisierung und plädiert stattdessen für Lokalismus. Aufgenommen wurde es live im Studio End of an Ear mit lokalen Musiker:innen, Freund:innen und Familienmitgliedern. Jeder Ton ist direkt und unverfälscht – was im Raum passiert, hört man auch auf der Aufnahme. „We Are Together Again“ nimmt die Ängste einer sich verändernden Welt nicht weg, sondern begegnet ihnen mit Harmonie. Das Album erzählt von Zusammenhalt, von der Freude am Miteinander und davon, wie das gemeinsame Fragen selbst zur Quelle von Hoffnung wird."

“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000

“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000


Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.

Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”

Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.

On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.

“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack” 

With the album Cousin Zaka Vol. 3, Blundetto is closing the series he began in 2019, ending it on a psychedelic note.

A voodoo spirit of harvests, Zaka is the guardian of agricultural activities and, by extension, a protector of nature.


It is under his protection that Max Guiguet delivers his wandering music and instrumental escapades — those in-between states he strives to capture in his notebooks, mood journals composed between each album and collaboration.

Rooted in the landscape and nourished by long observation, it allows itself to distort, stretch and blur the outlines of this peaceful scenery.

For this last volume of Cousin Zaka, the atmosphere is psychedelic, hippie, and free.


A freedom drawn as much from the poetry of Francis Picabia as from that of musicians Pierre Barouh, Moondog, and Eden Abhez — free spirits whose work informed the composition of this record. The idea is to take a path and let oneself be carried away, to drift as one would during a long walk in the forest.

Cousin Zaka, Vol. 3 is a wide, gentle experience, reminiscent of 1970s freedoms.

The music of these Louisville-NYC art-punk-rockers continues to exist bafflingly outside of time - so when better than 42 years after initial release to reissue their album debut on vinyl? New listeners will find, in addition to the roiling compulsion of its odd, dance-damaged clockwork and synthesis of feral and aestheticized values, a refined understanding of the width and breadth of "post-punk" music, from any era, known or unknown.

Bettye Swann possessed one of the most emotive voices in soul music’s cannon but her recording career was that of a shooting-star; it blazed at the start, then illumined brightly before abruptly dissipating, all in just eleven years. In 1975 she ceased recording, moved to Las Vegas and retired her Bettye Swann persona.
The Louisianan Betty Jean Champion had relocated to Los Angeles as a young woman where in around 1964 she was introduced to Al Scott, owner of Money Records. It was her fourth Money 45 “Make Me Yours” that propelled Swann into the stratosphere. One of the defining songs of the era, it was her pathway to Capitol Records with whom she signed in 1968.
By 1972 Bettye was at Atlantic Records. The initial Atlantic 45 “Victim Of A Foolish Heart” b/w “Cold Day In Hell” recorded at Fame with Mickey Buckins and Rick Hall, made for a promising debut reaching #16 on the Billboard chart. It was followed by Bettye’s version of Merle Haggard’s “Today I Started Loving You Again” and “Til I Get It Right”, a gentle country-soul labour. “I’m Not That Easy To Lose” also dates from those sessions.
In an attempt to broaden her appeal Atlantic sent Swann to Sigma Sound in Philadelphia where she cut Phil Hurtt’s’ and Tony Bell’s “Kiss My Love Goodbye”, “Time To Say Goodbye” and “When The Game is Played On You”. Her fortunes continued to wane so Swann was next placed with Nashville producer Brad Shapiro. The results were artistically stellar and included three unissued gemstones in The Isley’s “This Old Heart of Mine”, a definitive version of Maxine Weldon’s “I Want Sunday Back Again”, and “Either You Love Me Or Leave Me”.

black vinyl

Innerhalb seiner umfangreichen Diskografie präsentiert Both Worlds eine Innovation und rückt das Werk des Pianisten in ein neues Licht. Zum ersten Mal stellt Michel Petrucciani auch eine echte Gruppe zusammen und bildet eine homogene Formation, in der seine Präsenz und Rolle nicht mehr als dominierende Elemente wahrgenommen werden. Während in vielen seiner früheren Aufnahmen das Klavier aus der Rhythmusgruppe herauszustechen schien, um es deutlich hervorzuheben, platziert Both Worlds Petrucciani bewusst innerhalb der Gruppe und macht den Pianisten zu einem integrierten Element des Ensembles, wodurch er der Anführer sein kann, ohne sich wie ein Anführer zu verhalten. Eine weitere Neuerung: Michel Petrucciani setzt die Bläser hier wie nie zuvor ein; sie treten nicht mehr nur als Solisten in Erscheinung, sondern in einem neuen Kontext, als Begleitung und Kontrapunkt. Diese Platte konnte zwar nur dank einer intensiven Zusammenarbeit zwischen Komponist und Arrangeur entstehen, doch auch die unerwartete Produktionsarbeit des Schlagzeugers Steve Gadd trug sicherlich zu ihrer Entstehung bei.

Whilst remaining leftfield in spirit, there is a musical vulnerability to the latest iteration of Legss, and a newfound pop sensibility to their writing, which reflects a move to a more accessible sound. There is a security in inaccessibility, and shedding this cloak opens the band up to an earnestness at once exciting and nerve-wracking. Twinned with their signature world-building aesthetic, the new direction is reflected sonically by drummer Louis Grace, who co-produced the album with Balazs Altsach (Ugly, Katy J Pearson, Broadside Hacks) - set to be distributed by The state51 Conspiracy.

On the announcement of their debut album, Unreal, the band say:
“Unreal feels like the work of a lifetime. We can’t believe we’re still here to see it through, but we are and we couldn’t be prouder. The album is about miscommunication and feelings of unreality/the uncanny in everyday life; the tragic and the comic.”

ABOUT LEGSS
Merging intricate guitars, disquieting monologues and a rhythm section both technical and unruly, London’s Legss create a wholly unique sound.
After meeting and forming in London, Legss released their experimental, darkly satirical debut EP Writhing Comedy in 2019, which received heavy airplay on BBC 6 Music. A year later the band’s much-anticipated, genre-bending sophomore EP Doomswayers was released in the shadow of the pandemic, championed by BBC Radio 1’s Jack Saunders and BBC 6 Music’s Steve Lamacq.

After the release of their single ‘Hollywood’, Legss signed to The state51 Conspiracy and released their third EP Fester in 2023, recorded at The Church, which saw critical acclaim from the likes of the Sunday Times, Quietus, Independent, Line of Best Fit, So Young Magazine, DORK, L&Q, and DIY.

In 2024 the band were included by Simon Reynolds in the afterword to a republished edition of Mark Fisher’s seminal Ghosts of My Life (Zero Books).

Legss are Louis Grace (drums, synth), Ned Green (vocals, guitar), Jake Martin (bass) and Max Oliver (guitar)

The Gun were a late 1960s British rock guitar trio who had a single British Top Ten hit, “Race with the Devil”. Brothers Adrian (guitar) and Paul (bass) Gurvitz teamed up with drummer Louis Farrell to create some energetic music. They founded a crossroads between blues rock, progressive and metal. The power trio created one of the best kept secrets from the sixties.

Story Of The Year haben seit ihrem Debütalbum »Page Avenue« – einem der ersten Alben dieser Art, das sich 2003 eine Million Mal verkaufte – die Post-Hardcore-Szene maßgeblich geprägt, und das Quartett aus St. Louis ist im Laufe der Jahre nur noch beeindruckender geworden. Fans haben die Band auf Tour mit Linkin Park, My Chemical Romance und Deftones gesehen, sowie bei ihren Auftritten auf der Warped Tour und beim Festival When We Were Young und vielen anderen.

Epic Anime ist eine außergewöhnliche Sammlung neuer, offiziell von den originalen Studios und Verlagen autorisierter Orchesterarrangements einiger der bekanntesten Anime-Titel. Das Album der NDR Radiophilharmonie unter der Leitung von Dirigent Michael England erscheint als 2×180g-Vinyl in "Oxblood"-Färbung und auf CD. Das Album entstand in Koproduktion mit dem Norddeutschen Rundfunk.
Auf Epic Anime findet sich eine hochkarätige Auswahl an Gast-Solist*Innen, darunter die Geiger*innen Esther Abrami, Andrea Cicalese und Niklas Liepe, die Cellistinnen Mariko Muranaka und Raphaela Gromes, Akkordeonist Martynas sowie die Pianisten Tim Allhoff und Louis Philippson. Auf ausgewählten Titeln ist der Chor Pop-Up zu hören, als auch eine Rockband bestehend aus einigen der besten Sessionmusiker*Innen.
Das Album präsentiert neue sinfonische Interpretationen populärer Anime-Themen aus Demon Slayer, Neon Genesis Evangelion, Naruto, JoJo's Bizarre Adventure, Bleach, Kikis Delivery Service, Spirited Away und weiteren Produktionen. Sämtliche Arrangements und Aufnahmen entstanden mit ausdrücklicher Zustimmung der jeweiligen Rechteinhaber und gewährleisten damit höchste Authentizität. Das Album würdigt die vielfältige musikalische Tradition des Anime-Genres und verleiht den Originalwerken eine eindrucksvoll cineastische Dimension.
Epic Anime richtet sich an Anime-Fans, Soundtrack-Enthusiasten und Liebhaber orchestraler Musik gleichermaßen.

Turner Cody first collaborated with Nicolas Michaux and the Soldiers of Love (Clément Nourry, Ted Clark, and Morgan Vigilante) on his album Friends in High Places (2021). This album marked a turning point for Turner Cody, in which he started to incorporate country influences to his songwriting. But that was only the beginning, and Out For Blood is without question a country album. This new album offers the perfect canvas for him to express his poetic lyricism, and to paint portraits inspired by American mythologies. The songs explore such themes as freedom, individualism, destiny, sin and redemption. Rooted in traditional narratives yet resonating with our times, these songs are to be seen as parables: imaginary characters faced with the dichotomy of good and evil. In the vein of Kris Kristofferson, Townes Van Zandt, or John Prine, Out For Blood stands as a major contribution to the great repertoire of American song. ut For Blood bears witness to a transformation in Turner Cody"s life. While his songwriting already hinted at a certain Americana, it primarily reflected his twenty years spent in New York and the legacy of the anti-folk scene-closer to the Velvet Underground than to Hank Williams. Then came the move: Cody and his family left New York to settle in St. Louis, on the banks of the Mississippi. This change of scenery and perspective fueleda new way of writing. The challenge was clear: maintaining the subtlety and textural work characteristic of his previous works while integrating the country heritage of the new songs. The collaboration between Turner Cody and Nicolas Michaux signs the perfect communion between an artist who writes in the language of poetry and another who crafts sound and textures. The Soldiers of Love, far more than a backing band, have influences ranging from jazz to fusion, from pop to Congolese rhythms. Their subtle, atmospheric sound merges with Turner Cody"s "three chords and the truth" to create this unique magic!

STORY OF THE YEAR have been influential in shaping the post-hardcore scene since their debut album “Page Avenue” – one of the first of its kind to sell a million copies back in 2003, and the St. Louis quartet have only grown even more impressive throughout the years.

Fans have seen the band hit the road with LINKIN PARK, MY CHEMICAL ROMANCE, and DEFTONES, as well as tear up Warped Tour Stages and festival performances at When We Were Young, and more. The band’s 2023 album “Tear Me To Pieces” was their first with SharpTone, and we couldn’t be more thrilled to reveal “A.R.S.O.N.” to the world!

Sabine McCalla creates her own version of multi-cultural American roots music. It's a sound that crosses borderlines, pulling everything from Brazilian samba to southern soul to British rock & roll into its orbit. On Don't Call Me Baby, Sabine filters those influences through the lens of her Haitian heritage and her music community of New Orleans, creating a debut album that's every bit as multi-faceted as the woman who wrote its songs.

The daughter of first-generation Haitian immigrants, Sabine was raised in the suburbs of New York City, where she grew up alongside her sister Leyla McCalla (Sons of Our Native Daughters, Carolina Chocolate Drops). Introduced to chamber music at an early age, Sabine began playing classical violin in orchestras, music camps, and conservatory classes as an 8 year old. Back at home, she filled her head with Motown classics, girl group hits, Bob Marley albums, Beatles standards, and Haitian folk music. It was a wide constellation of sound that spanned more than a half century, and Sabine made it all her own, drawn to the connections binding everything together.

Don't Call Me Baby shines a light on those connections. The follow-up to her critically-acclaimed Folk EP, whose pre-war sound earned her a slot at the Newport Folk Festival in 2019, the album transcends genre and generation, creating a raw, rich mix of country, R&B, folk, and soul that exists on its own timeline. Co-produced by Sam Doores of the Deslondes and featuring a cast of New Orleans’ most spirited and gifted (including guest vocals from Riley Downing, Leyla McCalla, and The Lostines), Sabine McCalla reaches beyond her beloved New Orleans Americana scene with Don't Call Me Baby, building a bridge between the world-spanning sounds that have captured her attention.

Repress Orange Vinyl

Endlich können die Millionen Fans von "Stranger Things" ihre Leidenschaft für ihre Lieblingsserie durch den Kauf von physischen Produkten (vor allem LPs, aber auch CDs und sogar Kassetten, eine Anspielung auf die 80er Jahre als zentrales Thema der Serie) zum Ausdruck bringen! Noch mehr als in den vorherigen Staffeln spielt die Musik eine wichtige Rolle in der Erzählung, insbesondere das Kate-Bush-Phänomen "Running up that hill", das natürlich im Soundtrack enthalten ist, sowie "Pass The Dutchie" von Musical Youth und "You Spin Me Round" von Dead or Alive, die in den ersten Episoden sehr auffällig waren. Supererwartetes Kultprodukt: Vorbestellungsstart am 1. Juli, wenn die zweite Hälfte von Staffel 4 startet. Enfin les millions de fans de "Stranger Things" vont pouvoir matérialiser leur passion pour leur série préférée en achetant en physique (surtout le LP, mais aussi le CD et même la cassette, clin d'oeil aux 80's thème central de la série) ! Plus encore que pour les saisons précédentes la musique joue un role prépondérant dans la narration avec en particulier le phénomène Kate Bush « Running up that hill » évidemment présent sur la BOF ainsi que Pass The Dutchie de Musical Youth, You Spin Me Round de Dead or Alive très remarqués dans les premiers épisodes. Produit culte super attendu : lancement de précommande à ne pas manquer pour le 1er juillet, date de lancement de la 2e partie de la saison 4.

Blues, country and folk or funk, rock and soul – Broussard always gives his songs a very special touch; here he reaches his peak performance!

Acclaimed soul singer and songwriter Marc Broussard returns with his new studio album, "S.O.S. V: Songs Of The 50's," paying homage to the timeless classics of the 1950s. With his unmistakable, warm soul voice, Broussard interprets timeless songs by legends such as Ray Charles, Sam Cooke, Nat King Cole, and Fats Domino—complemented by his own original composition that fits seamlessly into the era. The album is the fifth installment in his successful S.O.S. (Save Our Soul) benefit series, with proceeds once again benefiting the non-profit organization Love Of People in his hometown of Lafayette, Louisiana. His latest charity album, "S.O.S. 4: Blues For Your Soul" (2023), a collaboration with blues icon Joe Bonamassa, benefited the Keeping The Blues Alive Foundation and the organization Guitars Over Guns – and debuted at number 1 on the Billboard Blues Albums chart.

From time to time Fortunea Records gives us the chance to highlight and welcome new faces. And this one is Petals In Sound!

Louise Baldwin is a UK-based producer and DJ. After over a decade of living, working and partying in South East London, she relocated to Crosby in Liverpool. Following a number of years experimenting with music production, she finally found her groove during the 2020 Covid lockdown. In October 2020, she released under her moniker the well-received debut EP 'Palace’ on Boyanza Records, gaining support from the likes of NTS Radio and the Sloth Boogie Radio Show. Many releases on labels such as Closer To Truth, Dirt Crew and Inhale Exhale followed.

Louise playfully attacks the fabric of deep house, pushing and pulling the genre into modern territory with clever and precise production techniques. And now she will release her first vinyl record on the Austrian imprint. The ‚Days‘ EP includes 4 original tracks and a remix by the Vienna-based dj and producer Dzc.. Hypnotic rhythms and well crafted deepness defines this record.

Petals In Sound’s ‚Days’ EP will come out on december 19th. All tracks have been mastered by Patrick Pulsinger. The vinyl is limited to 200 copies and there will be no repress!

Orange Vinyl

The 10-track release, Collection Agency, is Curren$y’s first project of 2021. The album marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. At just under 24 minutes, Curren$y delivers another unforgettable round of smooth joints and cruising music.