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Das Reissue enthält sechs bisher unveröffentlichte Demos, darunter die Songs Hold Me Up und Don"t Blow Your Wind, die nie über die Demo-Phase hinausgingen. Auch frühe Versionen von Tangerine, Summer, Kitchen Door und Clobberedsind enthalten und zeigen, wie diese Klassiker entstanden. Ergänzt wird die Veröffentlichung durch neues Artwork, Fotos, Erinnerungsstücke sowie Notizen der Band und Produzent John Agnello. Sleepy Eyed markierte Mitte der 90er einen Wendepunkt: Nach dem Erfolg von Big Red Letter Day (1993), das Buffalo Tom in die Billboard-Charts brachte und mit Late At Night in der Kultserie My So-Called Life zu sehen war, wollte die Band zurück zu einem roheren Sound. Bill Janovitz verweist auf Dylan- und Stones-Platten als Inspiration: weniger Perfektion, mehr Direktheit, Nähe und Authentizität. Aufgenommen wurde in den Dreamland Studios im Bundesstaat New York - abgeschottet, intensiv, fast wie tägliche Live-Sets. Herausgekommen sind Songs, die bis heute zu Fan-Favoriten zählen, allen voran Tangerine, Summer und Kitchen Door. Gegründet 1986 an der University of Massachusetts, stehen Buffalo Tom (Bill Janovitz, Chris Colbourn, Tom Maginnis) seit fast 40 Jahren gemeinsam auf der Bühne - 10 Alben später ein beeindruckendes Stück Beständigkeit.

„I Can’t Let Go“ ist die erste Zusammenstellung der Aufnahmen der Brooklyn-Sängerin Evie Sands aus den 60er Jahren, die alle 15 Titel ihrer ersten 8 Singles auf der Vinylversion enthält. Die CD-Ausgabe umfasst weitere 11 Titel, darunter ihre kompletten 45er-Singles aus den Jahren 1963 bis 1970. · Sands, die bereits als Kind zu singen begann und schon in jungen Jahren im Studio arbeitete, verfügte über eine kraftvolle und faszinierende Stimme, die ihr Alter Lügen strafte und auf klassischen 45er-Singles zu hören war, die von Soul- und Rock-Sammlern sowie Liebhabern von Girlgroups und Femme-Pop gleichermaßen geschätzt wurden. · Nach ersten Veröffentlichungen bei ABC und Gold tat sich Sands 1965 mit dem Songwriting-, Arrangement- und Produktionsteam Chip Taylor und Al Gorgoni zusammen, um eine Reihe exzellenter und oft erstaunlicher Platten bei den Labels Blue Cat, Cameo und A&M aufzunehmen, die in ihrem vielbewunderten ersten LP gipfelten. Dabei nahm sie die Originalversionen (und definitiven Versionen) von „Take Me For A Little While“, „I Can't Let Go“, dem Northern-Soul-Floor-Filler „Picture Me Gone“ und dem majestätischen „Angel Of The Morning“ auf und sah ungläubig zu, wie sie alle zu Hits für andere Künstler wurden. Nachdem sie 1969 mit „Any Way That You Want Me“ endlich einen eigenen großen Hit gelandet hatte, folgte nach einer kurzen Auszeit Anfang der 70er Jahre ein gut aufgenommenes Comeback-Album, „Estate Of Mind“, und zwei US-Top-50-Hitsingles. Durch die kontinuierliche Weiterentwicklung ihrer Produktions- und Songwriting-Fähigkeiten standen bald die Größen der Popmusik Schlange, um mit ihr zusammenzuarbeiten und ihre Songs aufzunehmen: Barbra Streisand, Dusty Springfield, Karen Carpenter, Dionne Warwick und später auch Missy Elliot coverten Sands' Kompositionen, und Elvis hätte es beinahe auch getan... · „I Can’t Let Go“ wurde von Jai Rathbone in enger Zusammenarbeit mit Evie Sands zusammengestellt, die ihre Gedanken und Erkenntnisse über diesen frühen Abschnitt ihrer Karriere teilt. Mit zahlreichen Illustrationen versehen, ist dieses Buch ein Muss für jeden Fan. · Bewundern Sie erneut (oder zum ersten Mal) die Vielseitigkeit eines der bestgehüteten Geheimnisse der 60er Jahre: die volle, emotionale und wahrhaft unverwechselbare Stimme von Evie Sands.

Stepback Records is proud to announce the highly anticipated release of Jacksonville's new 12" vinyl, Oracle Memory EP.

Jacksonville is an electronic artist whose work spans multiple genres, creating music that’s designed for clubs and dance floors. With previous releases on labels such as Atmospheric Exsistence and Chez Damiers Balance Alliance imprint Jacksonvilles roots run deep.

With Oracle Memory EP, Jacksonville takes listeners on a journey of low end perfection, blending elements of house, electro and bass music genres.

Produced by Chris Lyth (Jacksonville), Oracle Memory EP was crafted with vinyl in mind with an analog warmth throughout each track. Likewise master and cut comes courtesy of Optimum in Bristol for the absolute best sound quality possible.

""Ein verträumtes, verschwommenes Album, das sich langsam und träge über den Hörer legt und sein Zeit- und Raumgefühl verdrängt. Gesangsfetzen schweben geisterhaft aus dem Äther, nur um wieder in den Nebel einzutauchen und sich um einen langsamen, schwülen, dampfenden Rhythmus zu winden – ein verführerischer Mix, der McDonalds beeindruckendes und dezentes Gitarrenspiel umspielt. Es stammt aus der sumpfigen Unterwelt der Delta-Blues-Bibel, und Adrian Sherwoods rauchige, dubbed-out Effekte, Loops und Echokammern sind allgegenwärtig, mit Sounds, die aus der Zeit gefallen sind und doch genau dorthin zu gehören scheinen, wo sie sind."" - Thom Jurek, allmusic

Mit Feuerwasser setzte Curse im Jahr 2000 einen Meilenstein im deutschen Hip-Hop. Tiefgründige Lyrics,
packende Storys und ein Sound, der zwischen rauer Straßenpoesie und reflektierter Introspektion balanciert.
Dieses Album gilt bis heute als eines der bedeutendsten Rap-Debüts Deutschlands. Nach seiner Rückkehr
aus den Staaten mit knapp 20 Jahren, bringt Curse Ende der Neunziger neue HipHop-Einflüsse aus New
York nach Deutschland und stellt seine „Zehn Rap Gesetze“ auf. Die ernsten und persönlichen Texte,
unterlegt mit professionell produzierten Beats, werden zu Curse’s persönlicher Signatur in der Deutschen
Rap Szene und Feuerwasser zu einem Album, welches kommende Generationen prägte. Original-produziert
von Tony Dawsey (Jay-Z, Akon, Kid Rock, Nine Inch Nails), gilt dieses Album bis heute als eines der
bedeutendsten Rap-Debüts Deutschlands.
Feuerwasser erscheint passend zum 25-jährigen Jubiläum nun erstmals wieder in seiner originalen Fassung
auf Vinyl – als 2LP in 180 Gramm Pressung, auf rotem und blauem Vinyl und im hochwertigen Gatefold
Sleeve. Enthalten sind alle 14 Original-Tracks von 2000, darunter Klassiker wie ”Zehn Rap Gesetze”,
”Wahre Liebe”, und Entwicklungshilfe”.
Passend zum Release geht Curse ab dem 6. November 2025 auf Deutschlandtour.

Die erfolgreiche englische Alternative Band Florence + The Machine veröffentlicht ihr mit Spannung erwartetes 6. Studioalbum ”Everybody Scream”.
Die Band rund um Frontfrau Florence Welsh ist aus der globalen Musikszene nicht mehr weg zu denken!
Mit 7 Grammy Nominierungen, mehrfachen Platin - und Gold Auszeichnungen, fünf Top 10 Platzierungen
in den Deutschen Album-Charts sowie mehr als 1,5 Millionen verkauften Tonträgern in Deutschland zählt
Florence + The Machine zu einer der einflussreichsten Bands der letzten Jahrzehnte. In der Vergangenheit
arbeitete die Band mit Musikgrößen wie Taylor Swift (”FLORIDA!!!”), Lady Gaga (” Hey Girl”) & Calvin
Harris (”Sweet Nothing”) zusammen. Bekannt wurde die Gruppe durch den kraftvollen Gesang von Florence Welsh und dem theatralischen und oft mystischen Sound, welcher Elemente von Art-Pop, Indie Rock
und Barock-Pop filigran vereint. In ihrer Musik erkundet Florence + The Machine Themen wie Liebe, Tod,
Schmerz und zieht Inspiration aus der Kunst und Literatur der Renaissance.

LP&DL Im Jahr 2023 erschien das Debütalbum der Wiener Band Bad Ida, das einen durchaus bemerkenswerten musikalischen Stil repräsentiert: eine explosive Mischung aus Soul, Funk, R'N'B traditioneller Spielart und dem absolut Besten was man aus dem guten, alten Bluesrock herausholen kann. Das klang im positivsten Sinne gewohnt und auch wieder ganz neu und heiß und dann war da ja noch eine Stimme, die besagte brandgefährliche Mixtur mit dem ersten Atemhauch zum Bersten brachte. Die Melodien - pure Ohrwürmer - und der rhythmische Drive hinterließen bei vielen geneigten Hörer:innen erstaunt-ekstatische Blicke und nur noch ein einzelnes, rudimentäres Wort im auf der Tanzfläche leergefegten Gehirn: WOW! Was tun nach so einem runden und rundum gelungenen Anfang? Easy: einfach weitermachen, wenn sich der perfekte Flow schon so schön zur groove-orientierten Spielfreude verdichtet hat. Nun startet also mit Ending Things der zweite Anlauf, um Hörnerven und Tanzbeine ordentlich auf Schiene zu bringen. Und es geht wieder aus dem Stand auf 180: angereichert mit einem dezenten Schuss Pop nistet sich hier ein weiteres großartiges Album konsequent auf dem Plattenteller ein. Die Lyrics von Ines Dallaji behandeln wieder die ganz großen, nicht immer ganz glücklichen Gefühle - die wiederum von einer richtig gut aufeinander eingespielten Band sehr zum Glück des Publikums intensiv zum Leben erweckt werden. Themen wie Umweltzerstörung ("Red Flags"), der Druck sozialer Medien ("Age of Likes"), Trauer ("I Still Miss You"), Angstbewältigung ("Fear") und toxische Beziehungen ("Remember My Love For You", "Leave Me Alone") verleihen dem perfekten Pop-Sound tiefgründige Strahlkraft: Bad Ida ist weit mehr als die oberflächliche Eleganz und der reizvolle Glamour, mit denen man das Genre Soul ja oft verbindet.

MAFIA may be a name you dont recognise straight away... but I know you all know of DJ Vern & DJ Ash on Tearin Vinyl that we repressed back in 2019. And you may recall a couple of years ago the Big Vern release that we did too... and the real spotters will recognise the track 'Say It Loud' as that appeared on the Big Vern release (copies still in stock).

Vern was a resident DJ on London pirate Weekend Rush plus he was the head honcho over at World Bass Records from the mid 90's too. He is one of the great jungle innovators from the 90's who used his knowledge as a DJ and applied it in the studio, creating many anthems.

This release was originally pressed in 1995 on World Bass Records and we are super excited to be able to repress it 30 years later!

Deep black, with ghostly glimmers of an old car melting into the tarmac: the cover of Never En-ding Rodeo sets the tone. This isn't just a late-night drive, but a controlled skid across the borders of Post-Rock, Noise and Psych. The engine roars, the ground shakes, the white lines blur. Six years after the release of Ain't That Mayhem, the Lyon-based band returns with a dense, smoke-veiled record. Never Ending Rodeo: a deceptively playful, almost cartoonish title for such an intense album. As if, after circling endlessly around dust, bucking, and stampedes, Zëro had carved out its own orbit. Unstable, inevitably. But magnetic. Éric Aldéa (guitar, vocals), Franck Laurino (drums), Ivan Chiossone (Persephone, synths), and now Varou Jan (guitar, bass) - (Le Peuple de l'Herbe, Condense) - have lost none of their bite. Better still: this new album marks a turning point in production quality, thanks in particular to the mixing work of Niko Matagrin. The sound is broader, more inhabited. Every snare crack, every synth layer sits precisely in a meticulously sculpted space. "As if Tom Waits had collided with Nine Inch Nails. Before a frightening modernity hurled this so-nic convoy into a headlong rush." ~ Indiepoprock "You don't simply pass through Never Ending Rodeo: you step inside, you lock yourself in, drawn irresistibly by its magnetism." ~ Solénopole

Riding the wave of recent re-evaluation of city pop, Kobayashi Izumi has once again been in the spotlight both at home and abroad, and is reissuing her
second solo album, released in 1982, on LP! The sound has a Latin and New Wave flavor, and Tomoyasu Hotei also makes a guest appearance on guitar.

Hundredth haben sich über die Jahre als Band des Wandels etabliert. Mit jeder Veröffentlichung schlagen sie neue klangliche Wege ein – von ihren rohen Hardcore-Wurzeln über den verträumten Shoegaze von RARE (eines von Stereogums besten Alben 2017) bis hin zum cineastischen Synthpop von Somewhere Nowhere. Jeder Abschnitt ihrer Karriere fühlt sich an wie ein Neuanfang – mal hart, mal zart, aber immer mit dem Drang, voranzuschreiten.

Nach fünf Jahren Stille kehren sie nun mit Faded Splendor zurück: einer intensiven Mischung aus Post-Punk-Energie und weiträumigem Indie-Rock. Das Album vereint Einflüsse aus vier Jahrzehnten – von düsterem 80s-Post-Punk über das Indie-Revival der 2000er bis zum glitzernden 90er-Alternative-Rock und verträumtem Pop. Ein Hauch von Alt-Country klingt mit – vielleicht eine stille Erinnerung an ihre südliche Herkunft. Doch das ist keine Rückschau. Es ist ein Aufbruch.

The first-ever best of of Nim Vind is called Anthology 1 and is released by Sunny Bastards Records! This collection of audio medicinals created in a UFO vibrating in the Key of NV is guaranteed to blow your mind. Experience the energy and indulge in some Halloween candy with Nim Vind's 180-gram Vinyl album. This collection includes Nim Vind's most popular tracks from regular albums Fashion Of Fear, Stillness Illness & Saturday Night Seance Songs, along with some special versions or tracks that have never been released before. Nim Vind was introduced to Europe through Zillo Magazine and the Goth club "Pagan Love Songs". This led to the release of his first album, "Fashion of Fear", on Fiendforce Records Germany. The album was recognized by Metal Hammer UK, Maximum Rock n Roll and many other magazines that support underground artists. Rue Morgue Magazine (the world's biggest Horror Entertainment Print magazine) selected Nim's album "Saturday Night Seance Songs" as the Album of the Year. He has shared stages with the likes of Gary Numan, Filter, Blitzkid, The 69 Eyes, Todd Kerns (Slash with Miles Kennedy and the Conspirators), Peter Murphy of Bauhaus, and many more. The album kicks off with NV classic "Killing Saturday Night", which has garnered 1.7 million plays on Spotify and more than 330,000 views on YouTube. The collection attempts to showcase some of the songs that have been a part of his story, bringing us up-to-date with his current work. If you're a Horrorpunk, Goth, Post-Punk, Rock N Roll or Alternative collector, this collection is a must-have! Vinyl only compilation, for fans of MISFITS, JERRY ONLY, CHRIMSON GHOSTS, BLITZKID, THE OTHER.

For its second anniversary, Samba Jean-Baptiste’s 2023 LP, ‘Cardinal' arrives on vinyl and CD. Two years on from its original release on Samba’s own AM Radio imprint, this physical release via Scenic Route Records celebrates an album that’s quietly built a devoted following for its intimate songwriting, cinematic arrangements, and deeply human detail.

This edition features alternative artwork by Rafi Goudy and, for CD buyers, a 32-page lyric booklet featuring images captured by Samba himself.

An intimate, richly textured record that’s grown into a modern cult classic, ‘Cardinal’ stands as a deeply personal snapshot of a singular artist - now a tactile home experience.

Co-Accused Records return this autumn with From The Pit, a four-track EP from Paris-born, Berlin-based producer SOD-90 that seeks out connections between electro, industrial, breakbeat and EBM. Locking into the raw, gritty range of distortion that defines his sound, the release also features a remix from Hamburg’s L.F.T. and follows SOD-90’s label debut with 'Saving Up For Botox’ last year.

A classically trained flautist, professional musician and teacher, SOD-90’s electronic production has become an increasingly vital part of his daily life. Working almost exclusively with hardware, his tracks emerge from spontaneous sessions as a channel for emotional release, fuelled by bursts of adrenaline and a need to counterbalance the refinement of classical music. Distortion, for him, is a way to dig deeper into timbre and sonic depth, pulling distinctive textures out of his machines.

Opener ‘Fugitive Passagére’ sets the tone with driving kick drums, distorted vocal fragments and full-throttle energy aimed straight at the club. L.F.T. 's remix twists it into a dark electro moment, layering a jagged bassline over razor sharp beats. On the B side, ‘Muzzle’ goes all-in on blown-out distortion and breakbeat force, before closer ‘Rust Fountain’ moves into complex, off-kilter territory with ricocheting synths and layered percussion.

limitierte 4-fach Vinyl in dunkelgrünem Vinyl

John Fogerty feiert die Songs, die Rockgeschichte geschrieben haben – zu seinen eigenen Bedingungen. Zum
ersten Mal besitzt er die vollen Rechte an seinem ikonischen Katalog. Legacy ist sowohl eine Feier als auch
eine Rückeroberung. Das Album enthält neu eingespielte Versionen seiner beliebtesten Songs und fängt
Fogertys rohe Energie und kreative Leidenschaft ein – pünktlich zu seinem 80. Geburtstag. Unterstützt
von seiner Familienband und getragen von einer neuen Welle der Anerkennung – von seiner Ehrung durch
Bruce Springsteen bei den American Music Honors bis hin zu mitreißenden Auftritten 2025 beim JazzFest,
Glastonbury, der Hollywood Bowl und vielem mehr – zeigt sich Fogerty so kraftvoll und lebensfroh wie eh
und je. Legacy ist nicht nur eine Hommage an eines der größten Repertoires der Rockmusik – es ist der
Klang eines amerikanischen Originals, das seinen Platz im Rampenlicht erneut einnimmt.

"Visual artist, musician and composer Satch Hoyt will release a new 10” vinyl album, Un- Muting, on 3 October 2025 on newly minted record label traza, run by Andrea Zarza Canova and distributed by Honest Jon’s Records. This album is the first to document Hoyt’s ongoing, long-term project of un-muting historical African instruments held in Western museum collections and includes his composition: Un-Muting Beyond Misspelt Borders.
Originally commissioned by Nottingham Contemporary for the exhibition Your Ears Later Will Know to Listen, Hoyt’s composition invites listeners to engage with what he calls ‘sonic restitution’, a performative challenge to the silent confinement of instruments within Western conservation standards and ethnographic museums, awakening and celebrating the hybridity, resilience and creativity of the transnational African diaspora.
The composition began with a recording session in October 2023 at the British Museum in London, where Hoyt was granted access to a selection of African instruments held by the British Museum’s Department of Africa, Oceania and the Americas. In the presence of curators and conservation staff, he played the instruments without written scores, responding instead to their physical and sonic presence.
The recordings were then further developed in Hoyt’s studio, combined with additional performances on both African and Western instruments from his own collection."

For Hoyt, un-muting is both a creative and political act:
"To Un-Mute is to gain access into ethnographic museum collections where I play and simultaneously record the abandoned ancient African musical instruments. These restituted recorded motifs and rhythms accompany my live concerts and recordings. Un-Muting is also concerned with the chapters of patriarchal and racist supremacy which accompany the instruments’ abductions, vehemently opposing the current continuum of this supremacy, its ongoing colonial expansion and continued capital extractivism. It remains focused on the retention of spiritual belief and stalwart visions of liberation leading to eventual global emancipation and self-realisation."
- Satch Hoyt, June 2025

The 10” vinyl record includes a newly commissioned text by critic and scholar Tavia Nyong’o.
The album will be released on vinyl and digital formats on 3 October to coincide with the opening of Satch Hoyt’s solo exhibition Satch Hoyt: Afro-Sonic Mapping Chapter 4 at KARST Plymouth.

Ancient African instruments: Trumpets (Kuba), Sanzas (Chokwe, Lega, Kongo, Yao), Ilimba (Nyamwezi), Whistles (Chokwe, Luba, Pende, Bambara), Talking Drum (Yoruba), Slit Drum (Kuba, Yaka, Tetela, Songye), Bell (Tetela), Rattles (Yoruba, Luba, Bamileke, Pende) and Flutes (Kuba, Kongo, Mossi, Bambara)

Western instruments: Flute, Electric Flute, Roland Handsonic, Synthesizers, Glockenspiel, Wooden Xylophone and assorted hand percussion

Composed, arranged, produced and performed by Satch Hoyt
Engineered and co-produced by Dirk Leyers
Recordings of musical instruments held by the Department of Africa, Oceania and the Americas at the British Museum by Adam Laschinger
Studio recordings of African instruments from Satch Hoyt's collection by Dirk Leyers
Uncredited Female Chant on wax cylinder recording by Karl Edvard Laman (c. 1910), held by the Berlin Phonogramm-Archiv
Additional sound design and production by Call & Response Studios
Mixed by Hendrick Valera (Cali, Colombia)
Mastering and lacquer cut by Kassian Troyer at Dubplates & Mastering
Cover art: Satch Hoyt, Score #1, 2020
Design by Elisabeth Klement
Direction by Andrea Zarza Canova

Plaque is a young Bristol label which knows what’s what; always worth checking.
Tiny runs so look sharp.

"Founder of KUMP and Meth.O tapes, Lyon’s Marc-Étienne Guibert (AKA Gil.Barte) awakens his new Mert Seger moniker for a shadowy Plaque excursion. Nine slow burners strike from the murk with venomous precision."

Along with his long-time DJ partner Fabio and contemporaries Goldie and LTJ Bukem, Grooverider is known as one of the originators of the UK jungle/drum and bass scene. In the early nineties he founded Prototype Recordings which soon became the home of many influential 12” singles that showcased a new side of breaks-heavy electronic music: deep, gritty, and futuristic. In 1997 Grooverider put together a collection of 12 heavy hitters from the Prototype catalogue, some of which previously only available as white label promos on acetate such as Dillinja’s “Silver Blade” and Ed Rush & Fierce’s “Locust”. Lemon D’s “City Lights” was previously only available on acetate and the CD version of this release. Now, after more than 25 years, a selection of these tracks is available again in the form of a DJ-friendly double LP. Finding these tracks separately will be very difficult, so don’t miss your chance to snag yourself a copy of this one. The Prototype Years is now available as a limited edition of 750 individually numbered copies on translucent red coloured vinyl.

Belgian pop superstar Max Colombie, aka Oscar and the Wolf, announces new
album ‘The Shimmr’, on PIAS Recordings.
Enter Colombie’s world and you’ll discover a uniquely dazzling and shimmering
fusion of contemporary R&B and a more European electro-pop sensibility, uniting
shivery melody, shifting beats and vocals steeped in drama, sensuality and yearning.
Colombie hears, “a twilight zone where it doesn’t sound dark nor happy. It’s like the
name Oscar and the Wolf; it’s a balance between light and dark, this perfect
combination between the sun and the moon. It’s beautiful and scary at the same
time.”
Oscar and the Wolf’s official debut, the 2012 EP ‘Summer Skin’, showed his gifts
arrived virtually fully formed, but he truly came of age in 2014 with his debut album
‘Entity’. Balanced between dancefloor anthems and slow jams, ‘Entity’ went 4 times
Platinum in his native Belgium and quickly jettisoned Colombie to superstar status.
He sold out arenas in Belgium and the Netherlands, taking the penultimate
headlining slot (behind Muse) at 2016’s Lowlands festival before headlining
Belgium’s Pukkelpop festival, sharing the bill with Rihanna and LCD Soundsystem.
Released in 2017, the second Oscar and the Wolf album, ‘Infinity’, went Platinum at
home, whilst amassing a huge Middle Eastern fanbase across Turkey (where his
2018 tour sold out in minutes), Egypt, Israel and Iran. On stage, Colombie cut a
commanding and lithe performer, often garbed in shimmering outfits that interacted
with the dynamic lighting.
The new Oscar and the Wolf album, ‘The Shimmer’, distils the essence of Colombie’s
sound and vision in its title and the image of Colombie on the album cover, bathed in
starry light. The album is a benchmark of his transformation on record; whereas
‘Entity’ was recorded in a barn, “very lo-fi with no access to gear,” he recalls.
‘The Shimmer’’s bold, rich and layered dynamics were captured at ICP Studios in
Brussels, home to, “one of the best live rooms in Europe, with all this vintage gear.”
More intimate moments were added at Colombie’s house outside the city, “those
magic takes we made just after we’d written something, which are so hard to capture
again.”
By ‘we’, Colombie includes producer Jeroen De Pessemier and multi-instrumentalist
Ozan Bozdag, who had both worked on ‘Infinity’ (and Bozdag on ‘Entity’ too). “It’s a
magical trio,” Colombie says. “Everyone is allowed to be themselves, and to explore
themselves. I’m really happy with ‘The Shimmer’ because I hear a more mature
version of myself. I always want things to grow, and I’m proud that I allowed myself to
not follow people’s expectations and reproduce what had been successful before.
There are no four-to-the-floor clubby pop songs this time.”
Instead, ‘The Shimmer’ more accurately reflects Colombie’s personality. “My
emotions run from super-happy to super-melancholic in a split second,” he says. “To
me, ‘The Shimmer’ feels like the soundtrack to a blockbuster, with many types of
tracks and themes. It’s always changing."

Dutch producer, composer, and multi-instrumentalist DROELOE (1.2M ML) releases the first single from his debut album as a solo artist, coming in September 2023. Extensive 5-single campaign over 5 months, 1k bespoke vinyl run, US and EU touring in Q3-4 2023 (US), as well as Q1-2 2024 (US/EU). $50k total budget for the album inc. $8k ad spend, media partners in key territories, 360 artwork/animations designed in Virtual Reality by concept artist Funi.

It runs through the minds of men and women of a certain age, complexion, and place who grew up during the era of segregation and who defied their parents, the law, and all genteel propriety and custom by answering one bluesman's invitation to cross the color line and join him getting lowdown and dirty as he serenaded a generation from the bandstand, on jukeboxes, and through the radio.

To them, the slurred guttural sound of a wise man singing "Hush, Hush," putting down the "Big Boss Man" or advising the listener to "Take Out Some Insurance" before they behold the "Bright Lights, Big City" was a siren's call they had no choice but to answer. Even if they tried, they couldn't resist the steady, dirty rhythm punctuated by the twanging sting of an electric guitar note and the sweet wail of a harmonica. And when they leaned in close, they could even hear the barely perceptible sound of a woman's voice whispering forgotten lyrics into an ear.

Ain't nobody can do Jimmy Reed like Jimmy Reed could. But this drive down Jimmy Reed Highway with fellow Mississippian Kent "Omar" Dykes at the wheel with Jimmie Vaughan (older brother of the legendary Stevie Ray Vaughan) riding shotgun and folks like, Kim Wilson, Miss Lou Ann Barton, James Cotton, Delbert McClinton, and Gary Clark, Jr., joining the duo, comes mighty close. As Omar guns the engine and peels rubber on the two- lane blacktop lined with no- good women, empty whiskey bottles, too many cigarette butts and bad intentions, he leaves John Law trailing behind eating his dust. Hop in for a ride and turn up the volume. The electric bluesman who shaped the minds and moves of a musical generation is alive and well. (by Joe Nick Patoski)

Das Fantasy-Mittelalter-Metal-Phänomen CASTLE RAT präsentiert sein zweites Album! Castle Rat ist die NY Fantasy-Heavy-Metal-Band, die von der Rat Queen angeführt wird, welche die Mission verfolgt, ihr Refugium gegen diejenigen zu verteidigen, die es zerstören wollen. Ihr zur Seite stehen The Count, The Plague Doctor und The All-Seeing Druid. Gemeinsam stellen sie sich mit Heavy Magie dem unerbittlichen Zorn ihrer Erzfeindin - dem Tod in Form von The Rat Reaperess. Das zweite Album The Bestiary ist ein riffgeladenes Kompendium mystischer Kreaturen und vorwarnender Erzählungen aus einer vergessenen Welt. Es erzählt 13 allegorische Geschichten von mythischen Bestien und dem Zauberer, der sie beschwört, und verwebt kraftvolle Heavy-Hymnen und dunkle Verzückungen zu einer betörenden und unvergesslichen Heavy-Metal-Odyssee. Als ob Grace Slick mit Black Sabbath um ca. 1200 A.D. auf einem KISS-Konzert rumachen würde. Aufgenommen von Randall Dunn (Sunn O))), Wolves in the Throne Room, Björk) und gemischt von Jonathan Nuñez (Torche, Restless Spirit), bietet das Album fesselnde Tracks zwischen epischem Heavy-Gemetzel und doomy Hard Rock. The Rat Queen kommentiert das Album wie folgt: "The Bestiary' ist ein konzeptionelles Buch der Bestien, das von mystischen Kreaturen aus einer vergessenen Welt erzählt. Die letzten verbliebenen Seelen jeder dieser Kreaturen wurden von `The Wizard' gesammelt und aufbewahrt. Die Geschichten der einzelnen Bestien und des Zauberers selbst werden mit der Kraft traditioneller Heavy-Metal-Songs und Hard Rock-Magie verwoben." Hervorgegangen aus New Yorks abscheulichem, kreaturenverseuchtem Untergrund, schlugen die Fantasy-Heavy-Metaller zunächst mit ihren Live-Auftritten und später mit ihrem Debütalbum "Into The Realm" im Jahr 2024 große Wellen. Seit ihrer Gründung im Jahr 2019 haben CASTLE RAT ein lebendiges Labyrinth aus Erzählungen und Mythen geschaffen, welches sie nun rund um die Welt führt. The Bestiary auf CD (aufklappbares Digipak), MC (mit gefaltetem Inlay) und auf LP (farbiges Vinyl, inklusive ausklappbarem Lyrics-Insert)!

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

Eine atmosphärische Symphonie aus ätherischem Verfall, die zum Klassiker des 21. Jahrhunderts aufgewertet wurde. Aufgenommen 1992 zu Hause mit einer 12-saitigen Gitarre, einem 4-Spur-Recorder, einem Loop-Pedal, unendlichem Hall und dem strukturierten Gesang der geheimnisvollen Sängerin Melissa Arpin Duimstra, verwandelte Scott Cortez' bezauberndes Projekt postadoleszente Tagträumereien im Schlafzimmer in ein ruhiges, mondbeschienenes Schweben auf einem endlosen Meer. Diese erweiterte und remasterte Doppelalbum-Edition enthält fünf weitere verzerrte Reflexionen aus dem Archiv, mit Texten und einer Replik einer Postkarte, in denen man sich verlieren kann. Hier braucht man keine Augenspülstation - Blindheit ist beabsichtigt.

Enigmatic UK producer Dylan Henner announces new album of deeply considered and choral-laced experimental ambient music Star Dream FM, said to be taped from a mysterious radio broadcast that plays his favourite memories from adolescence.

Though (clearly) fictional, the backdrop to new album Star Dream FM represents a tactile canvas on which the record’s true meaning is painted. It is, through Henner’s now-characteristic employment of ambient-textured synthesis, marimba, digital choir, and processed voice, a study of late adolescence and the experience of being seventeen.

Little is known about Dylan Henner, who landed on the ambient scene in 2020 with cassette releases for Phantom Limb, Belgian label Dauw, and cult tastemakers AD93. He barely promotes himself publicly, instead choosing to communicate through disarmingly poetic song titles. His debut album “The Invention of the Human” (AD93, 2020 - a recipient of BBC 6Music’s Album of the Year honours) responds to a set of philosophical questions - what exactly makes us human? What good is civilisation when there’s so much misery attached to it? How will technology affect humanity in the long run? In 2022, he released follow-up You Always Will Be on AD93, which traced the course of a single life from birth, to childhood, to adolescence, adulthood, parenthood, middle-age, old-age, and demise. He has also covered Raymond Scott, Terry Riley, Aphex Twin, Ryuichi Sakamoto, and Su Tissue among numerous further projects.

Yarni's "Anemoia" blends disco, soul, jazz-funk, hip-hop, and trip-hop across ten collaborative tracks, arriving with an unexpected bonus record due to a pressing plant mix-up that transformed a costly mistake into a collector's item. When the pressing plant accidentally pressed the full run using a rejected master, Yarni included both the louder original test pressing and the final audiophile version rather than waste the pressing.

The project has garnered significant BBC Radio support, with Craig Charles, Stuart Maconie, Romesh Ranganathan and Huey Morgan championing tracks as essential listening. Exploring the Greek concept of nostalgia for a time never known, the self-taught multi-instrumentalist collaborates with ten musicians and vocalists, weaving genres into a thoroughly modern tapestry.

Standout collaborations include the orchestral jazz-funk opener "Neon Gods," epic "S.W.A.L.K" featuring Scarlett Fae, hip-hop fusion "Natural Light" with Franz Von and Jeff Darko, and the Afrobeat-influenced closer "Nino." Rather than a retro tribute, Yarni crafts a forward-thinking collection that reimagines classic genres through a contemporary lens, bridging past and present with fearless experimentation.

The bonus record features slight distortion and louder mastering from the original test pressing that wasn't quite right - offering fans both the intended audiophile experience and this alternate version with added character. Each package includes a personal letter explaining this happy accident, making it essential for collectors seeking authentic independent music experiences.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Is this Psycvhedelic Speedcore ? Is this Double kick 130 BPM Techno ? Is This Funky Flashcore ? Is This Cavage Party Time ? Is This the Return of The Revenge ? Is This Hardcore Music ? Is This avaible as Wave or Mp3 as well ? Is This a way to say I love Samba ?

Ltd White Deluxe Vinyl

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Max Romeo and O.B.F link up on 'Badminded People'. Some proper heavyweight sound system science.

First cut as a rub-a-dub tune in Rico O.B.F’s studio, the track took a surprise turn when Mark Iration dropped by: “Try a 4-4 kick pon yahso”. Minutes later, the stepper version was born, pure shack-out business. You know we had to slap both cuts on the record!

Rinsed on dubplate by O.B.F, Iration Steppas and Dubkasm for years, this is our salute to Max Romeo's life and everlasting legacy.

Legofunk Records returns with a brand-new volume of “Super Disco Edits” series — this time bringing together an all-star lineup of artists from across the funk and disco scene. Bursting with groove, soul, and analog warmth, the compilation celebrates the golden vibes of dancefloor magic while pushing the sound forward with fresh energy and creativity. Get ready to move!

So Fades the Light is an eerie horror thriller that makes for unsettling watching. That is no small part thanks to the equally haunting score from composers Blair French (an ambient and Balearic producer from the Detroit area) and Dave Graw (a fellow Motor City musician and visual artist), who forgo melody in place of atmosphere. It means their soundtrack is a living, breathing presence that's less about music a more of a sort of ghost that refuses to leave. Graw and French sculpt a world of distortion, static and whispered tones that feel dug out of crumbling ruins. It’s bleak, patient and unrelenting, always pulling you deeper into the lead character Sun’s fractured memories and the menace of her past. As a standalone release, it’s equally gripping: a record that blurs ambient, horror and noise into one oppressive atmosphere.

So Fades the Light is an eerie horror thriller that makes for unsettling watching. That is no small part thanks to the equally haunting score from composers Blair French (an ambient and Balearic producer from the Detroit area) and Dave Graw (a fellow Motor City musician and visual artist), who forgo melody in place of atmosphere. It means their soundtrack is a living, breathing presence that's less about music a more of a sort of ghost that refuses to leave. Graw and French sculpt a world of distortion, static and whispered tones that feel dug out of crumbling ruins. It’s bleak, patient and unrelenting, always pulling you deeper into the lead character Sun’s fractured memories and the menace of her past. As a standalone release, it’s equally gripping: a record that blurs ambient, horror and noise into one oppressive atmosphere.

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Vinyl comes with a 20-page handmade booklet, an individually signed and kissed handkerchief of Cindy (some of them even have her teardrops on them) and a huge fold-out poster! Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

Found Keys is the debut album by American artist Ruth Maine. Although Ruth has been playing and composing music for over two decades, this is the first time she decided to record some of her varied compositions and share them with the public. But in times when it is the norm to clamour for attention, she prefers to go the opposite way. Ruth likes to let her music speak for itself and stay in the shadows.

The 16 short piano pieces heard on this album, each about two to three minutes long, were recorded remotely and purely surrounded by nature. Once a composition was found and Ruth considered it mature, she only recorded it once, embracing the beauty of doing something for the first time with all its little imperfections. Found Keys sounds anything but imperfect though. These compositions feel timeless, intimate and comforting, as if they have been around for a long time, like an old friend. Gently played keys slowly evolve into minimal pieces through repetitive melodies. There’s stillness as much as there’s brightness, sadness as much as joy; welcome to a beautiful journey through Ruth’s world of wonder.

In many ways, Found Keys is a deeply personal record that takes Sonic Pieces back to its roots. And it leaves a feeling of nostalgia while reviving memories of the past.