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Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

. By his early 20s, Kurious was already an in-demand voice on the mic. His 1994 major label debut album, A Constipated Monkey, is a classic of its style, marked by heavy beats and nimble rhymes that are razor-sharp yet frequently hilarious. Despite being hailed as one of hip-hop's most compelling lyricists, he didn't release another solo IP for the rest of that decade, but he continued to be sought after. Rap fans the world over know him for his verse on "?," one of the standout songs from his longtime friend and collaborator MF DOOM's heralded Operation: Doomsday. As he prepares for the release of his new album, Majician-the nickname his peers blessed him with a generation ago-Kurious is well on his way to establishing the legacy he's long deserved. The LP, which was executive produced by MF DOOM before his passing, is a mesmerizing blend of technical wizardry and personal introspection. Take "Eye of Horus," where the pulsing drums convey an urgency that borders on panic; Kurious weaves a complex tapestry of history and insight, but does so while ducking through and under each pocket in the beat. Produced in its entirety by Mono En Stereo, Majician is filled with songs like "Eye of Horus," which dance on the line between confession and confrontation. "Separation Anxiety" is a personal bloodletting in the form of lyrical exercise; "Par For the Course," which features the elusive Mr. Fantastik, makes drum breaks from the early Reagan era sound totally revitalized. Through the radical amount of work Kurious put into the writing and recording of this material, he's removed all ambiguity from the question of whether he can stand as one of the premier MCs of his time.

Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)

Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.

Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.

On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".

Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)

Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.

Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.

On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".

Phoebe Rings is a dream-pop band offering a unique blend of introspective yearning with celestial danceable grooves. Their self-titled debut EP, a hopeful collection of musings, out on Carpark Records, is a testament to the distinctive musical style of Auckland jazz-school-trained pianist and songwriter Crystal Choi. Across six tracks, the EP is a love letter to some of the band’s influences: Studio Ghibli films, Zelda and Stardew soundtracks, Bossa Nova, Stereolab, and 90’s Korean ballads.

In 2020, the band played their first gig in a ‘funny side room’ during a festival at Auckland Town Hall. Choi’s songwriting was brought to life with Alex Freer on drums, Simeon Kavanagh-Vincent on guitar and synths, and Benjamin Locke on bass. Choi says she knew the tracks had to be recorded after the band played the songs better than she could ever imagine. And so, remotely through the COVID-19 lockdowns, the band started recording the EP.

“Daisy” is the vibrant leading single, with the shimmery refrain “Ooh-wee-a-waa” and the uplifting mantra: “When you’re next to me, the world’s full of daisies.” The swirling synths fizz on the skin like warm sun, promising growth and new starts. “Cheshire” is an Alice in Wonderland-inspired trip through the rabbit hole, pacing in anticipation. “Like a Cheshire cat, it grins and disappears in moments when you accept yourself,” explains Choi. Locke and Choi finished the lyrics one evening, huddled in the corner of a local underground music venue, with references to Murakami’s book Dance Dance Dance.

Choi grew up in Seoul, developing a palette for K-pop and retro sounds. The city-pop influence of “January Blues” shines through, with Choi crediting one of her favourite songs from the ’80s: “연극이 끝난 후 After Play”. The track explores her disconnect with the summer break. “In the Northern Hemisphere, January is winter,” says Choi. “I missed that a lot, and I don’t vibe with the beach.”

“Spissky,” chimes in with Choi’s lilting vocals reminiscent of childhood lullabies, inspired by a lonely-looking castle she saw on tour with Princess Chelsea in Slovakia. While “Ocean” leans into its mumble-core roots, taking a leaf from the Cocteau Twins. There’s an external shift in the EP, with “Lazy Universe” being the most energetic track, evolving with the band’s chaotic sci-fi experimentation. Asking, “Are you still waiting for a kiss?” Choi is self-critical and urgently speaks up from being passive.

The members of Phoebe Rings are cemented in the musical ecosystem, balancing other projects and full-time work. Yet Sundays will always be carved out for Phoebe Rings to dream up imaginative, world-building tunes — often with a Nintendo game soundtrack in the background as inspiration.

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

Produced by Wild Rivers and Gabe Wax (Soccer Mommy, Adrienne Lenker), "Better Now" consists of eight tracks that complement the recent album Never Better, as the group dives deeper into the complicated, confusing and unknown realities of life in their twenties, and the personal growth they’ve found through it all. Of the new project, Wild Rivers shares: “Better Now" is our companion record, and the other side to "Never Better".

On the first record, the songs contain raw, absolute and instinctual feelings. In many ways, Better Now is the afterglow of this. We’re reflecting and understanding that relationships change over time. Complicated situations can be just that, complicated. Feelings can remain unresolved. If the first record is bright and bold, this one is the softer gradients in between; the sunrises and the sunsets. Both projects make up the full spectrum of who we are.

"Better Now" is just the moodier, misunderstood one. Musically the records really are twins. We wrote all of the songs at the same time. Finishing Better Now, we really felt that it was the close of a massive musical and personal chapter. It’s bittersweet but so meaningful to be able to chronicle our lives between these projects. Ultimately, we are optimistic; ‘better now,’ after the ups and downs of the relationships and turbulence of our twenties. Hopefully we’re wiser for it.”

Don Heffington was a musician's musician. Starting his professional career in the late 70s and early 80s as a part of Emmylou Harris' Hot Band and seminal alt-country pioneers Lone Justice, Heffington went on to a session career that included work with Bob Dylan, Dwight Yoakam, The Jayhawks, Dave Alvin, The Wallflowers, and many, many more. Heffington was also a prolific songwriter, and here, his colleagues and friends pay loving tribute to those songs in a benefit for the Sweet Relief Musicians Fund (Heffington passed away in 2021 from Leukemia). Artists such as Jackson Browne, Fiona Apple, Buddy Miller, Dave Alvin, Watkins Family Hour, Peter Case, and others interpret Don's quirky songs. In the words of Jackson Browne: "I think of (Don) as inhabiting the same Los Angeles as Warren Zevon, Lowell George and Tom Waits.”

San Francisco native Eric Luttrell announces his highly anticipated studio album ‘Life at Full Speed’, released on October 11 on Anjunadeep. First breaking into electronic music as part of the OWSLA-affiliated trio The M Machine, Eric embarked on his solo journey in 2016 with the acclaimed 'Need You' EP. This was followed by Anjunadeep favourites such as the 'Generate' EP and 'Intergalactic Plastic', championed by Annie Mac as the Hottest Record In The World. His musical progression continued with the launch of two studio albums, 'Intro Clouds' and 'Lucky Ones', as well as the captivating trilogy EP series 'Music For My Memories'. Luttrell's body of work has amassed over 100 million streams to date. Written over the past two years, ‘Life at Full Speed’ represents a new chapter for Eric. Becoming a father last year profoundly shifted his perspective on life and its purpose; and the album represents the ethos of embracing life to its fullest and seizing every moment. Featuring thirteen meticulously crafted tracks, "Life at Full Speed" embodies Luttrell's signature blend of indie-laced house music, characterised by uplifting melodies, intricately woven synths, and infectious grooves. A standout feature of the album is Eric’s integration of his own vocals on some of the tracks such as “When I First Met You” and “Go”. Additionally, Canadian artist Molly Moonwater joins forces with Eric on the single 'Something Right', enhancing its euphoric tone. Lead single ‘Make U Happy’ comprises a playful piano, signature Luttrell synths and a catchy top line culminating in an irresistible, feel-good summer anthem. This track sets the tone for the album, offering a glimpse into its uplifting vibe. Among the album's tracks are previously released singles ‘Sunshine’, ‘Space’, and ‘Sunrise Song’, which have collectively amassed over 3.5 million streams and received acclaim from BBC Radio 1 and SiriusXM Chill.

Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!

Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!

Als Band sind die sechsköpfigen SILVERBACKS aus Irland rastlos und begierig darauf, das nächste eigene große Ding in Angriff zu nehmen: Drei Alben in vier Jahren sind der Beweis dafür. Dass ihre zischenden, rockigen Songs selten die Vier-Minuten-Marke überschreiten, ist ein weiterer Beweis dafür. Und sie machen einfach nur noch was ihnen wirklich Spass macht und deshalb vielleicht noch authentischer nach SILVERBACKS klingt als je zuvor. Wie sie im Schlusstrack des dritten Albums "Easy Being A Winner" singen: "You start to figure it out." Wie schon das 2020 erschienene, hochgelobte Debütalbum "Fad" und der 2022 erschienene Nachfolger "Archive Material" haben SILVERBACKS "Easy Being A Winner" mit Daniel Fox (GILLA BAND) in den Sonic Studios in Stoneybatter, Dublin, aufgenommen. Nach sieben Jahren in ihrer Karriere beschreibt das Sextett sein kommendes Album als das, wonach sie definitiv klingen, wie O'Kelly erklärt: "Jetzt, wo "Easy Being A Winner" herauskommt, habe ich das Gefühl, dass ich selbstbewusster sagen kann, wer wir sind. Wir sind Indie-Rock. Und dieses Album klingt noch mehr nach dem Indie-Rock, den ich mir vor all den Jahren für unsere Band vorgestellt habe." Das Ergebnis ist prächtig.

Als Band sind die sechsköpfigen SILVERBACKS aus Irland rastlos und begierig darauf, das nächste eigene große Ding in Angriff zu nehmen: Drei Alben in vier Jahren sind der Beweis dafür. Dass ihre zischenden, rockigen Songs selten die Vier-Minuten-Marke überschreiten, ist ein weiterer Beweis dafür. Und sie machen einfach nur noch was ihnen wirklich Spass macht und deshalb vielleicht noch authentischer nach SILVERBACKS klingt als je zuvor. Wie sie im Schlusstrack des dritten Albums "Easy Being A Winner" singen: "You start to figure it out." Wie schon das 2020 erschienene, hochgelobte Debütalbum "Fad" und der 2022 erschienene Nachfolger "Archive Material" haben SILVERBACKS "Easy Being A Winner" mit Daniel Fox (GILLA BAND) in den Sonic Studios in Stoneybatter, Dublin, aufgenommen. Nach sieben Jahren in ihrer Karriere beschreibt das Sextett sein kommendes Album als das, wonach sie definitiv klingen, wie O'Kelly erklärt: "Jetzt, wo "Easy Being A Winner" herauskommt, habe ich das Gefühl, dass ich selbstbewusster sagen kann, wer wir sind. Wir sind Indie-Rock. Und dieses Album klingt noch mehr nach dem Indie-Rock, den ich mir vor all den Jahren für unsere Band vorgestellt habe." Das Ergebnis ist prächtig.

Philadelphian Jazz legend Benny Golson, an American bebop/ hard bop jazz tenor saxophonist, composer, and arranger, has had a long and storied career.

He has played with luminaries such as John Coltrane, Dizzy Gillespie and Art Blakey, to name just a few.

With his 1978 album “I’m Always Dancin’ To The Music,” Golson took a unique turn. Known primarily for his hard bop roots and classic compositions like “Whisper Not”

and “Killer Joe,” Golson steps into the realms of jazz-funk and disco with this release.

The title song is a stellar dance groove, holding heavyweight status among underground soul, funk, and jazz aficionados—a true ‘rare groove’ indeed.

Produced by George Butler, the instrumental hook of this title song has been sampled many times by artists such as Naughty by Nature, Logistics, Leona Lewis, and many others.

This is a real hidden gem and well worth seeking out!

This release comes as a limited edition of 750 copies on light green coloured vinyl.

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

Joy Oladokun has announced her anticipated new album, Observations From A Crowded Room. The follow-up to 2023’s Proof of Life will arrive less than 16 months later, on Oct. 18, 2024, via Amigo Records/Verve Forecast/Republic Records. Oladokun completely wrote and produced the new album, and she performed the majority of it alone. The tracklist includes 12 new songs and three spoken interludes. Four songs from Observations From A Crowded Room have seen release so far. Earlier this year Oladokun shared the indie-folk ballad “QUESTIONS, CHAOS & FAITH” and the gospel-inflected “DRUGS.” Along with the album announcement, she has also revealed the soulful slow-burn rocker “NO COUNTRY” and the modern folk tune “I’D MISS THE BIRDS.”

Wyatt Flores, is an American country music singer-songwriter and musician. EMI are please to announced his debut album Welcome To The Plains will be released in UK on 18th October. Flores told fans that the record will be released on October 18th and was inspired by his native Oklahoma and ultimate search for happiness. From stories about his life, family and many places he’s been, it is highly-anticipated by fans and was produced by Beau Bedford (Orville Peck, Shane Smith & The Saints). They recorded the songs between Los Angeles and Asheville, North Carolina (a pretty stark contrast), and the songs feature writers like Old Crow Medicine Show’s Ketch Secor and Aaron Raitiere, as Wyatt details the struggle of leaving his hometown of Stillwater and dealing with the highs and lows of life on the road as an up-and-coming musician.

The highly acclaimed NYC duo embodies DIY culture, a lo-fi sound w a distinctly hi-fi, maximalist cultural vision. Genre-transcending music for an overstimulated generation. Infamous for cathartic, erratic performances, MG has a rabid following thru sonic maximalism & anime/B-horror visual flair. Anthemic & fast-paced, the new studio album MG Ultra is Machine Girl’s heaviest music to date & also offers a boiling-the-frog intro to MG for new fans. MG lore juxtaposes whether the picture painted is that of reality, a fantastical escape, or a jarring future. Infamous for cathartic, unpredictable performances & genre-agnostic catalog, Machine Girl's vitriolic, organic following has developed through sonic maximalism & anime/B-horror visual flair.

“…a surprisingly cohesive atmospheric soundtrack to a movie that does not yet exist.” LONER is the stunning album from cult auteur DAVID J (Bauhaus, Love & Rockets) featuring Mia Doi Todd and Tim Newman. U.K. Edition in orange vinyl with gatefold sleeve. Limited edition of 500. Former Bauhaus and current Love and Rockets bass man returns via Dakota Records with a series of deconstructions of an original twenty some year old demo. Originally streamed as part of his 2007 series of unreleased stash ‘Tracks from the Attic,’ a precursor to the now hugely successful platform: Patreon. David’s original demo titled ‘Albino Dog’ alongside singer/songwriter Mia Doi Todd’s sublime studio version both appeared via that platform in 2015; only the latter appears amongst this new series of arrangements. David’s premonition of Mia’s voice on this song is one to be applauded – perfectly suited creating a ghostly sepulchral aura. Here the Colonel is aided by a series of foot soldiers varying in rank. Veteran comrade Joyce Rooks adds texture with her trademark cello to Mia’s ‘Albino Dog’, whilst privates’ Nigel Gwennap (‘The Day that David Bowie Died’) and Whitehall Rec’s Joel Baldwin contribute electric guitar and drum programming respectively. But it’s the work of the captain that captivates this whole package. Tim Newman (Love is a Ghost), arranger, sound alchemist, mixer and lunatic. Tim’s work with David is best savoured via their ‘Analogue Excavations & Dream Excavations’ 2002 Glass Modern set. ‘Loner’ offers the listener a kaleidoscope of sounds best experienced with headphones, the journey from David’s simple ‘Albino Dog’ strummed acoustic demo to ‘Crescendo’ is quite staggering. Joel’s synth on ‘Cold, Cold, Cold’ and the glitch added to Mia’s vocal (‘Loner on the Range’) for example take the song into an altogether different direction. But it’s ‘Crescendo’ though that sits atop the apex. Building, as the title suggests, into a blistering array of guitars, bass and drums with a gorgeous, ethereal repeating low vocal motif from Mia wrapping itself around the cacophony.

Fangen wir ganz von vorne an. Der Bandname: Er taucht auf im Werk der Beatles, von Cockney Rebel, Townes Van Zandt, Monty Python. Womit er auch einen ersten Hinweis auf die Musik liefert. Die Band: Vier Freunde, davon drei Musiker, 13 Alben im CV. Die Idee: Old school is the new modern. Pfeif auf Innovation. Pfeif auf Kunst. Konzentrier dich auf das, was du selbst am liebsten hörst. "Echte" Songs, mit Strophe, Refrain, zuweilen Mittelteil und wenn's passt auch mal Tonartwechsel. Melodiös, ohne seicht zu werden. Mitreißend, ohne aus der Kurve getragen zu werden. Deep, ohne kitschig zu werden. Oder, gottbewahre, esoterisch. Das Album: Alles wie immer, nur anders. Gitarren, Bass, Schlagzeug, plus hörbar mehr Keyboards/Synthesizers/Soundscapes. 12 Songs, die sich praktisch allen Facetten dieses Lebens widmen. Liebe, Körper, Kätzchen, Clubs, Theater, Astronomie, Wohnkonzepte, Mode, Müdigkeit, Müllentsorgung. Und, nicht zu vergessen, the way to the bathroom. Aufgenommen in Stuttgart, Hamburg, Karlsruhe, Paks/Ungarn und Uppsala/Schweden. Between Planets eben. And there you are.

Labi Siffre's Remember My Song (1975) is a soulful fusion of funk, jazz, and R&B, with the track "I Got The..." gaining iconic status through its bassline, famously sampled in several hip-hop classics. Notably, Eminem's "My Name Is," Jay-Z's "Streets Is Watching," and Wu-Tang Clan's "Killa Beez" all drew from this song. The album’s rich instrumentation and introspective lyrics highlight Siffre's unique style, leaving a lasting legacy across genres.

“Pinhead Gunpowder started writing songs in 1990 and made our first 7-inch the following spring. Nearly every year since, we’ve met up to play. Some years we recorded—five albums and eleven EPs— and some years we played shows. “But since 2010, we’ve been playing just for ourselves, something bands forget to do. Rather than ‘writing for the new album’ or rehearsing to get ready for tour, we went back to the basement every year. We lived in the house we’d built, remembering how we’d made the music for each other in the first place.We played all over the world—well, at least Oakland, Singapore and New York—but only for each other. We worked on the reissues of our back catalog, too and found ourselves fonder of each other and more family-like than ever. “A new record and tour was only a matter of time, but between the members’ other bands projects, and families, that was hard to find. When we finally did, we were all surprised. We think it’s our best yet—our catchiest, most collaborative, and most poignant.” — Aaron Cometbus Pinhead Gunpowder is Billie Joe Armstrong, Aaron Cometbus, Jason White and Bill Schneider. Unt is fourteen brand new songs recorded in 2023 by Chris Dugan (Green Day, Weezer, Iggy Pop, Samiam, Swingin’ Utters etc) and mastered for all formats by Nick Townsend (Cheap Trick, Bad Religion, Iron Maiden etc) at Infrasonic Sound.

Fully Restored Vinyl Remaster & Restored Original CD Release Artwork For Vinyl With
Memorabilia Assemblage Full Colour Inner-Sleeve
“A pitch-perfect exercise in the type of literary pop music that I felt had gone amiss since
Factory stopped releasing records. “ Alan McGee (On 17 Stars – The Guardian 2009 )
After a short label hiatus, Caroline True Records are delighted to bring you a limited
vinyl edition of a classic Salford /Manchester album.
The Montgolfier Brothers, Mark Tranmer (GNAC) & Roger Quigley (At Swim Two Birds)
initially released “Seventeen Stars” on the Salford-based Vespertine label in 1999.
Much critical acclaim & appreciation from pop dynamo Alan McGee led to a 2000 re
release on his nascent post-Creation Poptones imprint.
“So we ended up pressing records as usual. Our first record was Seventeen Stars by the
Montgolfier Brothers, a baroque, cinematic classic that almost no-one has ever heard.” Alan
McGee (On Poptones in “Creation Stories: Riots, Raves & Running A Label” 2013 )
Since that moment, “Seventeen Stars” has gathered universal plaudits & affection,
along with occasional live performances from the group.
To mark the 20th anniversary of the original release, CTR have remastered this brilliant
work for vinyl. The sleeve expands the original Vespertine CD release artwork to LP
size. Beautiful, memorable, fragile ... An album that proves the longevity of great
songwriting, tunes and textures that stay with you.
“An exquisitely beautiful elegy to a lifetime of misspent opportunities.”. (Exclaim – USA 2000)
For lovers of Felt, The Durutti Column, Jacques Brel, The Blue Nile & François de Roubaix.
This is a vinyl only strictly limited-edition release with no repress.

Songwriter and performer Sam Cooke (1931-1964) was one of the most popular and influential black singers to emerge in the late 50s.

"MOTOMAMI+" ist das Deluxe-Album der mit dem Grammy Award ausgezeichneten Künstlerin, Produzentin und Songwriterin ROSALIA. Das Originalalbum "MOTOMAMI" wurde mit dem GRAMMY Award für das beste Latin-Rock- oder Alternative-Album sowie mit vier Latin-GRAMMYs, darunter Album des Jahres, ausgezeichnet. Die Deluxe-Edition von "MOTOMAMI+" enthält das Originalalbum, darunter die Hits "LA FAMA" mit The Weeknd, "SAOKO" und "BIZCOCHITO", sowie 8 zusätzliche Tracks, die zum ersten Mal auf Vinyl erscheinen, darunter die Hitsingle "DESPECHÁ".

Meine Liebsten, ich habe ein neues Album gemacht und ich bin überglücklich. Es heißt „Addio“. Ich freue mich, euch nach so langer Zeit zeigen zu dürfen, an was ich so gearbeitet habe. Es ist wild, ich schwörs.“ Faber sagt sich somit erst einmal los von messbar gemachter Kunst, von Musik, die nicht mehr nur für sich selbst stehen darf, sondern unmittelbar spiegelt, wie massenkompatibel sie ist. Faber hat seine Gedanken frei gemacht, die neuen Lieder werden es ebenfalls bald sein. Kommt mit!

Es gibt einige wenige Bands, die mit ihren Songs ein bestimmtes Gefühl in einem wecken, die sich anfühlen wie nach Hause kommen. So vertraut und gut, die einen abholen und trösten, bewegen, und zum Tanz bitten, wenn nötig in den Hintern treten und daran erinnern, was ab und an wirklich zählt. Diese Art von Band sind WINGENFELDER, und nun - wie schon großartig mit der ersten Auskopplung "Wenn's am schönsten ist" eingeläutet - werden Kai und Thorsten Wingenfelder (Fury in the Slaughterhouse) nach fast 14 Jahren das Kapitel WINGENFELDER schließen.

Und das wird nicht nur live gebührend gefeiert, sondern auch mit einem letzten, wunderbaren Album: "schlicht und ergreifend" erscheint im Oktober 2024. 10 Songs, 10 Geschichten. Wie immer ein enorme Spannbreite umfassend, die man hierzulande so nur noch selten findet.

Thorsten Wingenfelder: "Es war uns eine Ehre für Euch zu spielen. Es war uns ein wunderbares Fest und eine wahrlich großartige Reise... und nun sagen wir Auf Wiedersehen, schlicht und ergreifend."

Transparent gelbes Vinyl. Handgemachter, kompromissloser Riffrock, der die Vergangenheit mit der Gegenwart verbindet - dafu?r steht ATRIO. Das Trio u?berzeugt mit seinen leidenschaftlichen, ehrlichen Liveshows und erinnert an Bands wie Audioslave und Rival Sons. Auf ihrem zweiten Album THE KING behandeln ATRIO Themen wie den Kampf um eine bessere Welt und den Umgang mit Selbstzweifeln. Dass ATRIO ihr Handwerk beherrschen, haben sie schon mit der Qualifizierung beim Emergenza Deutschlandfinale und einer Europatour zusammen mit Corky Laing's Mountain unter Beweis gestellt.

Die schwedische Produzentin und DJ La Fleur bricht drei Jahre musikalischer Stille mit ihrem bevorstehenden und lang erwarteten Debütalbum 'Väsen', das am 18. Oktober bei PIAS Électronique erscheint. Ihr unverkennbarer Stil ist technisch hervorragend ausgearbeitet und zu gleich hochemotional. Ihre neuen Songs, die ständig überarbeitet wurden, haben eine optimistische, positive Kraft und melodische Schönheit über komplexen Perkussionsschichten, die so mit Hooks geschmückt sind, dass man die Ohren nicht davon abwenden kann.

Während der Pandemiejahre zog La Fleur von Berlin zurück nach Schweden und arbeitete als leitende Angestellte in einem Stockholmer Krankenhaus. Eine krasse Veränderung nach einem Jahrzehnt mit ihrem eigenen Label Power Plant, zahlreichen Kollaborationen und gefeierten DJ Set und Auftritten. Die gezwungene Pause nutzte sie, weiter an ihrem Debütalbum zu feilen, das 2020 eigentlich schon fertig war, doch ihre geänderten Lebensumstände sollten noch einen Einfluss darauf haben: „I’ve always drawn inspiration not only from music, but changing elements in my life. It’s only now I feel I have the tracks ready for the world to hear.“

- Col. LP: (Green Bio-Vinyl)

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

The 25th anniversary edition of Mariah Carey’s multi-platinum selling record, Rainbow has been pressed on rainbow vinyl and includes rare photos from the era. Rainbow is Mariah’s seventh studio album, with #1 hits, “Heartbreaker” (ft. Jay-Z), “Thank God I Found You” (ft. Joe & 98 Degrees), the globally successful cover of "Against All Odds" plus more fan favorites. This deluxe album also features several bonus tracks including, ‘Rainbow’s End,’ a brand-new recording.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

5, the fifth installment of the mixtape series that propelled her to stardom - a journey that began over a decade ago with the release of the first Winter’s Diary. This follows the release of her 2023 masterpiece, Thanks 4 Nothing, which was executive produced by Hitmaka. Thanks 4 Nothing has garnered over 160 million streams, and received accolades from virtually every major publication, including receiving a 7.6 rating by Pitchfork and gracing the cover of Galore Magazine. She followed up with her Thanks 4 Everything North American tour where she delivered an unforgettable performance of hits from her previous albums as well as the new project. In addition to new music coming this year, Tink will also be joining Jhene Aiko on The Magic Hour arena tour, spanning 27 cities. While all of this success may be a surprise to some, Tink and her day ones know how hard she has been grinding for this moment and how deserved it is. An album over 6 years in the making, Winter’s Diary 5 is finally here, and it’s about to be a cold winter.

Die Düsseldorfer Neumatic Parlo überqueren auf ihrer soundlichen Reise nicht lediglich den Rhein, sondern durchschwimmen auf ihrem Debütalbum play it as it lays gleich auch den Ärmelkanal: Vom Gitarrensound der frühen 90er durchnässt nehmen die fünf Musiker gekonnt Platz neben UK-Größen der jüngeren Vergangenheit - Fans von Shame, Squid oder Dry Cleaning kommen hier auf deutlich mehr als ihre Kosten, so dringlich, einfallsreich und gänzlich undeutsch klingt das alles!

Chinese American Bear ist ein C-Pop-Duo, derzeit in Seattle ansässig, das eklektischen zweisprachigen (Englisch/Chinesisch) Ohrenschmaus kreiert. Das Ehepaar Bryce Barsten und Anne Tong, macht Musik, die chinesischen Mando-Pop und westlichen Indie-Pop-Kanon vermischt. Sie schreiben Songs, die zwischen Englisch und Mandarin wechseln und einen Geist der interkulturellen Freude und Sehnsucht erfasst, die oft ergreifend ist und nie den Spaß verliert. Man hat sie als eine Mischung aus The Flaming Lips, Dusty Springfield und als wenn die Beach Boys ein Baby mit Care Bear hätten beschrieben. Das Album ist voll von Komik, Groove, Schrulligkeit und Niedlichkeit mit melodisch reicher Instrumentierung, ein bisschen Psychedelik, einer Dosis Funk und einer Menge Texte über das Füllen des Bauches mit Essen.

After seven years, Japandroids have returned with Fate and Alcohol, their fourth and final full-length. Written in part while the Vancouver duo-guitarist-vocalist Brian King and drummer-vocalist David Prowse-were touring behind their 2017 ANTI- debut, Near to the Wild Heart of Life, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they"ve honed over the course of 18 years and hundreds of shows side-by-side. Their aim was simply to write songs that they"d enjoy playing live, without sacrificing any of the nuance or ambition that marked their previous effort. Nowhere on this record is that more deeply felt than lead single "Chicago," a song whose sheer momentum feels inevitable and true-from the inherent romance of its opening chords to the series of snare-led explosions that see it through. Like the rest of Fate and Alcohol, it was recorded in Vancouver with longtime collaborator Jesse Gander, who also engineered 2009"s Post-Nothing and 2012"s Celebration Rock. "The very first demo we have of "Chicago" was recorded in our jam space on February 4th, 2020," King says, "and if you listen to that, it just sounds like a rough version of what you hear on the record. But it"s all there. That, in some ways, is the most ideal circumstance for a band like us: just having something that really rips in your jam space, something that feels good, something that you"re excited about."

Synth pop trio Bronski Beat's 1984 debut The Age of Consent is a rarity in musical history - an album that both defined a generation and challenged the status quo. Its four singles, and particular lead single 'Smalltown Boy', have endured with astonishing resonance, offering home to all listeners dreaming of escape from their familiar surroundings and situations.

Every track on the album places the listener 'in the room': they are in it, living it, rolling inside each song's thematic meaning. Through the blue-eyed wonder of singer Jimmy Somerville's vocal pirouettes, they too take the punch of hate in 'Why?', question the bible with alongside a male voice choir on 'It Ain't Necessarily So', and watch the same crappy TV advertising on 'Junk'. They are part of the trade-off between lust and commerce in 'Love and Money' and the heated near climax of 'Need A Man Blues.'

40 years later and The Age of Consent remains as prescient and vital as ever as it did on its original release; truly transgressive - defiant, queer, and laden with hooks. To celebrate this important anniversary, London Records revisit the album across a series of expanded formats, uncovering sonic archival gems, new mixes, essays and more.

BLIND EGO ist zurück! Der Gitarrist der deutschen Vorzeige-Artrock-Band RPWL Kalle Wallner hat sein Versprechen wahr gemacht und ein neues Album aufgenommen. "The Hunting Party" drückt im Vergleich zu seiner Hauptband RPWL das Pedal deutlich zugunsten von Rock- und Metal-Elementen durch. Seit dem Debut aus dem Jahre 2007 ist der neue Longplayer bereits sein fünftes Studio-Album. Dazu erschien 2017 ein Live-Album und 2022 sein "beinahe-Instrumental"-Album "Voices" unter eigenem Namen. Wallner scheinen die Ideen und die Lust am Produzieren nicht auszugehen - trotz seiner Hauptband RPWL, dem eigenem Label Gentle Art Of Music, seinem Tonstudio und vielen weiteren Projekten als Produzent und Gitarrist. Dabei stand die Tour des letzten Albums 'Preaching To The Choir' unter keinem guten Stern. Für viele Fans waren diese Konzerte im Frühling 2020 die letzten unmittelbar vor dem Corona-Lockdown und für viele Monate die letzten Konzert-Erlebnisse. Zum großartigen Gesamteindruck des Albums trägt neben Wallners außergewöhnlichem und markantem Gitarrenspiel vor allem der talentierte und erstklassige Sänger Kevin Kearns bei. Kearns, der bei seiner eigenen Metalcore-Band Cyant normalerweise ganz andere Töne anschlägt, entpuppt sich als Idealbesetzung: er interpretiert die Songs auf 'The Hunting Party' ganz besonders emotional, nimmt einen durch alle leisen und lauten Passagen mit - mal schnörkellos, mal filigran, aber immer höchst ausdrucksstark und voller Energie strotzend.?Dazu gesellen sich erneut Ausnahme-Drummer Michael Christoph und Wallners langjähriger musikalischer Weggefährte Yogi Lang (RPWL), der dem Album nicht nur als Mitproduzent und Keyboarder seinen Stempel aufdrückt, sondern sich auch für den glasklaren Mix und das Mastering verantwortlich zeigt.
Kevin Kearns führt hier den Hörer atemberaubend durch alle emotionalen Höhen und Tiefen, ehe die Wogen ruhiger werden und der längste Song des Albums mit einen wunderschönen Gitarren-Solo schließt. Nicht zuletzt wegen solcher Soli fällt einem bei Wallner sehr schnell der Vergleich zur Pink Floyd-Ikone David Gilmour ein. Dieser zentrale Song umfasst sehr gut dieses emotionale und abwechslungsreiche Album.

Line-up:
Kalle Wallner - guitars, bass, keyboards, programming
Kevin Kearns - vocals
Yogi Lang - keyboards
Michael Christoph - drums

Das vierte Soloalbum von Lost Dog Street Band-Frontmann Benjamin Tod, Shooting Star, ist eine Hommage an mehrere Jahrzehnte Country-Musik
durch Tods hochgeschätztes und ehrliches Songwriting.

Nap Eyes' metamorpher fünfter Longplayer versammelt neun faszinierende Songs, die in den vier Jahren seit "Snapshot of a Beginner" aufgenommen wurden. "The Neon Gate" enthält klassische Themen (das unruhige Zusammenspiel von Physik und Philosophie, umherwandernde Meditationen, Selbstbefragungen, Öffnungen der Surrealität, Videospiele), aber auch Anzeichen für abweichende Impulse in Richtung nichtlinearer Abstraktion und improvisierter Komposition in Langform (was zu ihren bisher diskursivsten, dekonstruiertesten und delikatesten Liedern führt) und erzählerischer und lyrischer Formalität (einschließlich der Adaptionen von dornigen Gedichten von Alexander Puschkin und W. B. Yeats), die den Eindruck vermitteln, dass sich Nap Eyes ebenso gewandelt haben wie ihr Verständnis davon, was ein Lied ist, was es kann und wohin es gehen könnte.

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

"Clouds In The Sky They Will Always Be There For Me", das vierte Album von Porridge Radio, wurde Anfang 2024 in Somerset vom langjährigen Big Thief- und Laura Marling-Tontechniker Dom Monks aufgenommen und ist ein Moment des Erwachsenwerdens, inspiriert von Burnout, der Musikindustrie, Herzschmerz und der zunehmenden Vertiefung der Bandleaderin Dana Margolin in ihr eigenes Handwerk als Künstlerin. Margolins rücksichtsloser, sich selbst hinterfragender Schreibstil wird auf dem gesamten Album durch die bisher ergreifendste Musik der Band ergänzt, die sich geduldig aufbaut und tragisch intensiv ist. "Alle Songs begannen als Gedichte, ich wollte mich selbst herausfordern", sagt Dana Margolin über das Werk, aus dem "Clouds In The Sky They Will Always Be There For Me" wurde. "In einem Song kann sich der Autor immer hinter den Tricks der Musik und altbekannten Techniken wie Wiederholungen verstecken. In einem Gedicht hingegen sind es nur Worte und das war's." "Vieles auf diesem Album handelt von einer frenetischen und verzweifelten Art von Liebe, es geht um den völligen Verlust meines Selbstbewusstseins in einer Beziehung und um den tiefen Rest von Unsicherheit und Schmerz, der eine neue Beziehung trübte." Lieder, die als Liebeslieder geschrieben wurden - wie "In A Dream I'm A Painting" - bekamen neue Bedeutungen, als Margolin die Lieder mit einer neuen Distanz betrachtete. "Es gab eine Menge Liebe und Verwirrung, alles durchsetzt mit Erschöpfung und Schmerz." Die Clouds-Sessions fanden in Frome statt, als der Winter zu Beginn des Jahres 2024 in den Frühling überging. "Es gab ein paar Zusammenbrüche", grinst Dana, eine faire Einschätzung der Aufnahme solch intimer und persönlicher Songs, "nach einigen Takes brach ich einfach auf dem Boden zusammen, so aufgebracht war ich." Es wurde ein Umfeld geschaffen, in dem Dana sich ausdrücken konnte und in dem sie gefördert wurde. "Wir hatten jeden Abend diese großen gemeinsamen Mahlzeiten", sagt sie, "es fühlte sich sehr eng und fürsorglich und warm und besonders an. Unser kleines Haus lag auf einem großen Hügel, ein Fluss floss hindurch, es war groß und hell und schön", erinnert sich Dana. Das Studio selbst war hell - voller strahlendem natürlichem Licht aus den großen Fenstern, ein Segen für Musiker, die an die abgeschottete Welt der meisten Aufnahmestudios gewöhnt sind, und zum ersten Mal konnten alle im selben Raum wie der Produzent aufnehmen. "Es fühlt sich an, als hätten wir zum ersten Mal etwas gemacht", erklärt sie und freut sich hörbar über das Album, "es hat etwas von unserer Freundschaft eingefangen und von der Art und Weise, wie wir gelernt haben, zusammen zu spielen. Ich liebe die Songs, ich liebe es, sie zu spielen, sie sind nicht alt geworden und es fühlt sich an, als wäre es etwas Besonderes." Eine Pause. "Es hat mich so viel gelehrt. Deinem Bauchgefühl zu folgen, auf deine Freunde und ihre Loyalität zu vertrauen, darauf zu vertrauen, dass du mit Leuten richtig kämpfen kannst. So will ich leben, so will ich Platten machen, denn Platten machen ist mein Leben, denn meine Arbeit ist mein Spiel, mein Job ist mein Leben. Alles ist in dieser Sache miteinander verbunden, und es gibt Wege darin, die mich nicht umbringen."

Seit ihrer Gründung im Jahr 2016 haben die Londoner High Vis ihre Palette an progressivem Hardcore mit Nuancen von Post-Punk, Brit-Pop, Neopsychedelia und sogar Madchester-Groove verfeinert und einen Mittelweg zwischen Hooks und Wut, Melodien und Moshpits gefunden. Sänger Graham Sayle beschreibt ihr drittes Album Guided Tour als eine Achse der konkurrierenden Kräfte: "Es versucht, eine hoffnungsvolle Platte zu sein, während es gleichzeitig wütend macht." Die Band, die von Schlagzeuger Edward 'Ski' Harper, Bassist Jack Muncaster und den Gitarristen Martin MacNamara und Rob Hammaren komplettiert wird, ist tief in der britischen und irischen DIY-Hardcore-Szene verwurzelt und wird von Rastlosigkeit und rechtschaffener Wut gleichermaßen inspiriert. Sayle sagt: "Jeder kratzt sich, jeder arbeitet die ganze Zeit, und die Vorstellung von Entspannung ist es, sich zu ficken und der Realität zu entgehen. Dieses Album ist eine Flucht vor dieser Realität." Von den ersten Sekunden an, in denen eine Kabinentür zuschlägt, ein Auto aufheult und ein sackartiger Rhythmus zum Leben erweckt wird, klingt Guided Tour wie eine Band, die nach neuen Höhen strebt und vor Energie strotzt. Das Ergebnis der mehrwöchigen Aufnahmen in den Holy Mountain Studios in London mit Produzent Jonah Falco und Tontechniker Stanley Gravett fühlt sich dynamisch und einstudiert an, wie Hymnen, die sich durch Schweiß und Wiederholung in das Gedächtnis der Sinne eingebrannt haben. Harper bringt es auf den Punkt: "Wir hatten eine klare Idee, jeder Moment wurde genutzt. Wenn wir 60 sind, können wir uns vielleicht hinsetzen und einen Schlagzeugsound hinbekommen, aber im Moment geht es darum, die Dinge zu erledigen." Die 11 Songs des Albums umfassen das gesamte Spektrum zeitgenössischer Gitarrenmusik, die durch Erfahrung, Kameradschaft und gesellschaftliche Frustrationen geschärft wurde. Von schwungvollem Streetpunk ("Drop Me Out", "Mob DLA") über schrillen Indie-Spott ("Worth The Wait", "Deserve It") bis hin zu Heavy Alt ("Feeling Bless", "Fill The Gap") und shoegazeartigem Spoken Word ("Untethered") - die Chemie der Gruppe verwandelt jeden Stil in ihre einzigartige Intensität. Sayle setzt sich für diese sich entwickelnde Verschmelzung ein: "Jahrelang hatten wir, die wir aus dem Hardcore kamen, ziemlich klare Grenzen - andere Szenen waren getrennte Welten. Jetzt vermischen sich die Dinge immer mehr, wir schöpfen aus verschiedenen Quellen."

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.

Masterminded by the prolific collaborators The Fattoruso Brothers, Airto Moreira, and Hermeto Pascoal, Opa’s Goldenwings a latin-jazz-fusion extravaganza that weaves a sonic world that lives at the intersection of lush three-part vocal harmonies, tender flute solos, pulsating percussions, and robust synth textures. Reissued on vinyl for the first time in 50 years as part of Jazz Dispensary’s Top Shelf series, the album was cut from the original analog tapes by Kevin Gray, pressed on 180-gram vinyl at RTI, and packaged in a gatefold tip-on jacket.

Third Man Records geben mit großer Freude das Signing des australischen Vierers The Belair Lip Bombs und die Neuauflage ihres 2023 erschienenen
Durchbruchsalbums Lush Life bekannt.
Das Album fängt ein breites Indie-Songwriting ein, das von Maisie Everett (Gitarre, Tasten, Gesang) geleitet und von einem talentierten Trio von
Musikern in Mike Bradvica (Gitarren), Liam De Bruin (Schlagzeug) und Jimmy Droughton (Bass) ergänzt wird.
Mit den bisherigen Singles „Stay Or Go“, „Gimme Gimme“ und „Say My Name“ ist Lush Life ein perfektes Album, in das sich Ersthörer vertiefen
können.
„Die Art von druckvoller, hookgeladener Rockplatte, die kaum noch gemacht wird, geradlinig im Sound, aber nehazu unangreifbar in ihrer
Konstruktion.“ The Guardian, Ones To Watch
„Energie und Experimentierfreude kollidieren auf einem aufregenden Debüt.“ **** NME

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

Ardor or Entropy is Nzʉmbe's first album in nine years, following 2015's Titubeo. During this period, philosopher and artist Miguel Prado's sonic output has included synthesizing a sonic Gernika with his band HARRGA alongside Dali de Saint Paul, and crafting a hallucinatory sci-fi mythology for Lucrecia Dalt's latest album, ¡Ay!."
Rewiring the conventions of chamber electronics and postmodern songwriting. Here it is presented A Spanish' song cycle on love and cosmological redshift. The distant echo of Tristan‐and‐Iseult's smoking gun where lovemaking becomes an enactment of entropy, a transformation between the dynamic and the static, the human and the fetish, illustrating the inevitable decline into chaos and stillness.
A beached singing voice (beautifully processed by Rashad Becker) against electro-acoustic backdrops ranging from the caustic, viscous to the bonecrushingly dense worldbuilding shared by HR Giger, Ballard and Pynchon. Transcendental and psychotic vistas that boldly examine human fragility and the surrounding abyss of godlessness.
---------------------------------
Artist: Nzʉmbe Title: Ardor or Entropy Label: Drowned By Locals Catalog Number: DBL31LP Year: 2024
Side A:
Mirror Of TauromachyZone Of AlienationGreat Vitreous TactKarman Vortex Street
Side B:
Serpentine LinesThermocline Anake and EntropyErgosferaAsymptopia
Composed, arranged and recorded by Miguel Prado Casanova
Vocal processing by Rashad Becker Piano on "Anake and Entropy" by Michael PisaroPipes on "Mirror Of Tauromachy" and "Ergosfera" by Wojciech RusinAccordion on "Asymptopia" by Alfredo Costa MonteiroTrumpet on "Asymptopia" by Ruth Barberán Electric bass on "Asymptopia" by Dominic LashElectric guitar on "Asymptopia" by Daniel BennettPercussion on "Asymptopia" by Alex Lázaro
Premixed by Miguel Prado Casanova Mixed, Mastered and Vinyl cut by Rashad Becker
Artwork photos by Lúa Ribeira © all rights reserved, 2024Design by Giovanni Murolo
This album is dedicated to Patricia
Special thanks to Patricia Fraga, Dali de Saint Paul, Mattin, Lucrecia Dalt, Laith Demashqieh, Lúa Ribeira, Rashad Becker

Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Following the success of their debut full-length album and it's lead track "Dragonfly" (which tracked 300,000 TikTok creations, and over 10 million streams) the brothers recruited Jared Solomon (Sza, Remi Wolf, Teezo Touchdown) to produce their sophomore LP, Coyote, You're My Star. Melding vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age, the new LP has already been met with rousing approval, with airtime on the Zane Lowe show on Apple as well as playlist covers like Spotify's State of Jazz. The band is also set to tour North America and Europe across festivals and headline shows.

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

AMPUTATE präsentieren auf ihrem neuen Album "Abysmal Ascent" rohen und ehrlichen Death Metal ohne Schnickschnack.
Diese Veröffentlichung ist fast schon ein Statement für die Kunst selbst.
AMPUTATE sind mit diesem Album den konträren Weg zu vielen anderen Bands gegangen. Ihr vorheriges Konzeptalbum beschäftigte sich mit dem Thema künstliche Intelligenz, aber dieses Mal sind die Songs alle individuell und behandeln verschiedene, meist düstere Themen.

Third Man Records geben mit großer Freude das Signing des australischen Vierers The Belair Lip Bombs und die Neuauflage ihres 2023 erschienenen
Durchbruchsalbums Lush Life bekannt.
Das Album fängt ein breites Indie-Songwriting ein, das von Maisie Everett (Gitarre, Tasten, Gesang) geleitet und von einem talentierten Trio von
Musikern in Mike Bradvica (Gitarren), Liam De Bruin (Schlagzeug) und Jimmy Droughton (Bass) ergänzt wird.
Mit den bisherigen Singles „Stay Or Go“, „Gimme Gimme“ und „Say My Name“ ist Lush Life ein perfektes Album, in das sich Ersthörer vertiefen
können.
„Die Art von druckvoller, hookgeladener Rockplatte, die kaum noch gemacht wird, geradlinig im Sound, aber nehazu unangreifbar in ihrer
Konstruktion.“ The Guardian, Ones To Watch
„Energie und Experimentierfreude kollidieren auf einem aufregenden Debüt.“ **** NME

Das vierte Soloalbum von Lost Dog Street Band-Frontmann Benjamin Tod, Shooting Star, ist eine Hommage an mehrere Jahrzehnte Country-Musik
durch Tods hochgeschätztes und ehrliches Songwriting.

It's been nearly a decade since Montreal's PYPY (pronounced like 'π π'...with a long 'i' rather than long 'e', thank you very much) landed with their debut Pagan Day (Slovenly), but the same lunatics behind CPC Gangbangs, Red Mass and Duchess Says are back with Sacred Times on Goner Records. One might recall the thunderous pop of their banger "She's Gone" carving out a place for itself in the high-end fashion world, becoming the soundtrack to Yves Saint Laurent's 2016 show. If that album bounced, punched and clawed like Delta 5 covered in dirt and trying to get somewhere in a booted vehicle while dodging lightning rod guitar licks the whole way, Sacred Times takes things to somewhere far beyond the proverbial "next level."

Co-vocalist/founder/multi-instrumentalist Annie-Claude Deschênes' (Duchess Says) signature howl and vocal acrobatics are present but so is a tendency towards beautiful melodies. Bassist Philippe Clement's (Duchess Says) brings a nastier bottom end that locks onto Simon Besré's drumming with a death grip for the entire affair. And guitarist/co-vocalist Roy Vucino (Red Mass, CPC Gangbangs, Black Leather Rose, Les Sexareenos, a gazillion others) goes bonkers with wildass blown-out guitar that's like hornets caught in yr hair.

"Lonely Striped Sock" grooves along like "Earthbeat"-era Slits/ESG until the chorus transforms PYPY into something else entirely. Something huge. Something with monster riffs and wah wah that pins you to the back wall. So there is clearly a brilliance with dynamics here, and it proves to be a not-so-secret-weapon that repays the "ear-vestment" in dividends throughout. "Ear-vestment"? Yikes. Then it's time for "She's Back," a sort of part 2/continuation (maybe a trilogy is in the works?) of Pagan Day's best-known gem (the aforementioned "She's Gone"). This one packs a hook that'll make your brain take out a restraining order. Looking for lost keys? Jury duty? Underwater welding? Negotiating a hostage situation? It doesn't matter...nothing will stop it from invading your thoughts. They say the only way to get a song unstuck from the noodle is to listen to it from start to finish, but you'll be doing that anyway. A lot. "Erase" is a (synth) noise-punk nugget; revealing a need for Brainiac-meets-Blondie we didn't know we had...deceptively kicking off with a no-fi drum machine that is immediately lost in the massive pop din that seemingly includes everything within reach. "Poodle Escape" is two minutes of perfect (and perfectly distorted) synth-punk and "I Am A Simulation" – with lead vox from Vucino – is yet another hit that deviates from the noise a bit and pays homage to both Devo and classic late-70's (big) power-pop (ex: the first Cars LP), but with a manic nature that is 150% circa right now. "15 Sec" (actually 3:38 in duration, thankfully) serves up a stanky-brown bass line, Deschênes' gorgeous vocals, wonderfully combative white hot, pin-the-meters Oh Sees/early Comets on Fire guitar rips, and a stunning coda that seems to utilize everything great about this band over its final minute. The album's title track is a love letter to Hawkwind in the musical language already established here. "Vanishing Blinds" is like being chased through the rain-soaked streets in an unknown dystopian nightmare from 40+ years ago. The album closes with the brooding if not playful menace of "Poodle Escape,” which, like its predecessors, is completely unlike every track before it.

Mit ihrem 6. Studioalbum “Sting” lassen Emarosa ihre Post-Hardcore Wurzeln zurück und öffnen das Tor zu einer neuen Welt voll von Pop-Rock Songs mit Ohrwurm-Garantie. In “Sting” vereint die Band ihre atmosphärischen Post-Rock Elemente mit einem musikalischen Ansatz, der als amerikanische Antwort auf The 1975 verstanden werden kann. Mit Funk Einlagen zwischen elektronischen Beats, einem 80er Jahre Vibe und modernem Alt-Rock, dominanten Synths und E-Drum Beats überzeugen sie alte wie neue Fans. “Sting” hat für die Band aus Kentucky ein neues Kapitel aufgeschlagen und ist nun auf limitierter neuer Multi-Color Picture Vinyl erhältlich, die zusätzlich den Cover Song “I Wanna Dance With Somebody (Who Loves Me)” enthält.

The 25th anniversary edition of Mariah Carey’s multi-platinum selling record, Rainbow has been pressed on rainbow vinyl and includes rare photos from the era. Rainbow is Mariah’s seventh studio album, with #1 hits, “Heartbreaker” (ft. Jay-Z), “Thank God I Found You” (ft. Joe & 98 Degrees), the globally successful cover of "Against All Odds" plus more fan favorites. This deluxe album also features several bonus tracks including, ‘Rainbow’s End,’ a brand-new recording.

To celebrate the 40th anniversary of George Michael's iconic hit 'Careless Whisper,' it is now releases as a single once again. The record features a previously unreleased live recording from his memorable Madison Square Garden concert on July 23, 2008. This performance marked his reunion with the New York audience after a 17-year hiatus, part of his monumental 25Live tour that captivated over 1.3 million fans worldwide. This special edition also includes newly mastered versions of the original single, extended mix and an instrumental. Written by George Michael and Wham! bandmate Andrew Ridgeley, it topped charts in 25 countries in 1984. It is certified 7x Platinum in the US and has sold over 1.5 million copies in the UK, with Platinum and Diamond certifications in 20 other countries. This timeless classic, written when Michael was just 17, continues to be celebrated for its masterful songwriting and enduring legacy.

LA SACREE GROLE is a tale by the TAMERANTONG company, set to music by LUDWIG VON 88.

TAMERANTONG! is a theatre company based in Mantes-la-Jolie, Paris-Belleville and Saint-Denis that puts on shows with children and young people from these neighbourhoods.

LUDWIG VON 88, road companions of the great hours of alternative rock (Bérurier Noir, Parabellum...) is also the only rock band capable of rhyming in ‘ong’.

TAMERANTONG! had long been plundering their repertoire for their shows. In retaliation, the Ludwigs decided to compose the soundtrack to ‘La Sacrée Grôle’: a Gallic legend told and sung by twenty kids from Paris-Belleville.

In the heart of the land of the Arvernes, reigns a valiant free people. Their village lies on the edge of a dreadful forest where no one ever ventures. But the time has come for all the peoples of Gaul to enter the fearsome forest and set off in search of the Sacred Pole!

La Sacrée Grôle premiered at Paris-Belleville and was performed from 1996 to 1998 in Paris (Café de la Danse, Palace, Trianon, Café Éphémère / Les Halles), Mantes-la-Jolie, Briançon, Rouen (Festival Débarquement Jeunes) and Montreal/Quebec.

This record, released for the first time on vinyl by the Archives de la Zone Mondiale label, includes 7 previously unreleased songs by LUDWIG VON 88.

Jazz, techno and ambient collide on the debut album from the futuristic quartet led by keyboardist Gauthier Toux

The origins of Oreo Jones forthcoming third studio album, to be released September 20th, 2024, started in 2019 while on an extended trip to Antananarivo, Madagascar supported by an Andy Warhol Foundation grant. The myriad sights and sounds of this journey greatly inform the sonic tapestry of this new album.Jones teamed up with indie producer Ben Lumsdaine (Durand Jones/Wishy/Varsity/Barrie) to build songs from the ground up sending demos back and forth from across the country. Jones also recruited composer and vocalist Hanna Benn to add heavenly harmonies sprinkled throughout the album. The result is a sound that is intentional and immediate, earthly and ethereal. Each song is a chapter in a narrative crafted with purpose.Emotionally, the album emerges from a place of much needed rest and peace. During the recording process, Jones' uncle passed away unexpectedly. Over the past few years, he has found himself processing grief and loss within his immediate family of elders. Nephew is an ode to celebrate the ancestors who shaped the artist he is today.

The debut EP from Laura Jane Grace & The Mississippi Medicals entitled 'Give An Inch' releases on a Dial Back Sound exclusive variant of "Fun Dip" colored vinyl. This six song EP was recorded at Dial Back Sound in Water Valley, MS and lacquered for 140g vinyl at historic Sam Phillips Recording Service in Memphis, TN by Jeff Powell. Disc plays at 45rpm for maximum deep grooves. The Mississippi Medicals are Laura Jane Grace (Against Me!), Paris Campbell Grace, Matt Patton (Drive By Truckers) and Mikey Erg!

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic, the group commissioned Jason Powers to remix the original tracks from the ground up, which turned into an 18-month endeavor that included some compositional edits, significant work to improve the sound of the drums, and the uncovering of unreleased songs. Today, a fully remixed and remastered Peril and Panic is finally being released into the wild sounding much closer to how it was originally meant to be heard. Sounding more relevant than ever, it seems increasingly clear that the ideas and feelings that informed both band and album are no longer so "radical" - if anything, they've become the zeitgeist of today, as a confluence of global crises points to a fraught future long predicted.

50 frequency and amplitude modulated sine waves describing a landscape / Trigram for Earth. Trigram for Earth, by Flora Yin Wong, is inspired by traditional eight-sided Pakua mirrors and the trigrams inscribed on each of their edges. The function of the mirrors is to show the nature of reality as being composed of mutually opposing forces and modulate them. Here, energies seem to be manipulated to guide and direct our listening, lost in a maze of sound, diffracted to the point of merging with the artist's own listening, through her memories, her obsessions, the fragments she carries within her. Flora Yin Wong invites us to embark on a multi-faceted investigation of sound, a journey through the meanders of liberated sonic forces, an auscultation of her own listening and a portal, at last, ajar to a fragmented and forever mysterious inner world.In his work '50 frequency and amplitude modulated sine waves describing a landscape,' Sébastien Roux applies his approach to algorithmic composition to the observation of the natural world, bringing the sound of the sea and the song of birds into the electronic domain, transmuting them into each other through a slow process of gradual modulation. Exploring the abstract space of pure sounds between two naturalistic tableaux, Sébastien Roux offers us a fascinating meditation on the world of synthesis, revealing, with an economy of means and great formal elegance, the magic of sonic simulacrum (deepl propose simulacra, mais là je suis pas assez calé_) and the strange beauty of the artificial, in a gesture that is ultimately as poetic as it is musical.

Back in print! Dead Moon's final album remastered with VERY radically improved sound and reissued here for the first time ever. 'Dead Ahead' is filled with all time great rockers and ballads. Some of the legendary band's heaviest work. The world's greatest rock band's swan song is not wasted - dark corridors are explored and conquered. Remastered from the original tapes with amazing new dynamics and the murk reduced to the noise layer it was meant to be.

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

"Among the great British bands celebrated during National Album Day, cult Liverpudlian act The La’s are in a league of their own: unlike all the other groups they share shelf space with this year, they are the sole group to have released only one album. Issued in October 1990, their self-titled debut has been hailed as one of the greatest albums of all time by NME, and was also placed at No.13 in Rolling Stone’s 2021 run-down of the 40 greatest “one-album wonders”.

Selling 300,000 copies in the US and 500,000 copies at home, The La’s has become an indie touchstone.

No shortage of that reputation rests on the single ‘There She Goes’, a reissue of which hit No.13 in the UK, on its way towards racking up double-platinum sales figures. With their album now making a return on “coke-bottle green” wax, The La’s have more than secured their place in British music history.




"

The Italian multidisciplinary collective CREA proudly presents "Crea Legacy 001" the debut release from its newly launched record label. This inaugural compilation is a powerful statement of intent, showcasing the diverse talents of CREA's resident artists from music to digital art. The record features four meticulously crafted tracks from no.name, Alarico, and Endrew, each contributing their unique sonic identity to this eclectic compilation, complemented by a 3D sculpture from 4C

Crea Legacy 001 kicks off with with Alarico's "Sleeping Dog" a percussive techno track that captures deep, primal energy perfect for peak dancefloor moments. No.name's "Tag" brings a sleek, minimalist vibe, driven by a bouncing bassline. On the flip side Endrew's "Rescue Of Airon" takes a more intricate approach, weaving in aquatic ambience with intricate sound design, while no.name's "District" rounds off the compilation with a playful and timeless hypnotic groove.

The artwork by 4C captures a personal representation of a hidden celestial body. The composition blends organic, fluid shapes with a cosmic essence, evoking the mysterious and dynamic nature of an unknown universe.

Handys raus, Laptops raus, kommt alle raus - Morgen Teuer Töten macht Sommerschlussverkauf im Winter. Die Band schallt mit ihrem Debütalbum "Not Available" den alltäglichen Wahnsinn direkt in eure Ohren. Mit bissigen Songtexten stürzen sich Morgen Teuer Töten auf die belanglose Trendgesellschaft, bis diese schreiend vor der Supermarktkasse liegt. Versucht nicht sie zurückzuhalten: Sie müssen hier vorbei. Ihre Songs sind so ohrwurmverdächtig, dass man sie nach dem Konzert noch unter der Dusche mitgrölt - und so schamlos, dass sogar die Seife rot wird. Es gibt gute Musik, es gibt Scheißmusik und es gibt Morgen Teuer Töten. Das Album erscheint als LP in kleiner Auflage von 300 Stück als reines Indierelease. Das Album kommt mit schwarzem Vinyl, schwerem Coverkarton, Textblatt in LP Größe und Download Link.

Der Thrash-Anteil wurde bis fast auf null reduziert, dafür
zeigte man schonungslos, dass man in den vergangenen
Monaten erneut Fähigkeiten dazugewonnen hatte. Die damals
immer noch junge Band spielte auf einem Niveau, welches
im europäischen Heavy Metal beispiellos war. Nur in Amerika
lieferten Watchtower oder Dream Theater ähnlich kompliziert
arrangiertes Material. In guter Rush Tradition findet man auf
„Steps“ einen langen Song auf der A-Seite (25 Minuten!),
während die B-Seite fünf Tracks und ein Outtro aufweist. Das
Stück „Corridors“ ist ein weiteres Beispiel für die unfassbaren
Fähigkeiten der jungen Musiker. „Steps“ ist insgesamt
eigenständiger als „Life Cycle“, welches noch stark an
Watchtower erinnerte. Durch den Gesang von Franz Herde, der
beim Nachfolger nicht mehr zu hören war, schließt sich hier
das erste Kapitel von Sieges Even.
Aufgenommen wurde „Steps“ 1990 in den Lakeside Studios
von Charlie Bauerfeind, der als Produzent heute bekannt ist.
Trotz des anspruchsvollen Materials war das Album ein Erfolg.
Heute findet man „Steps“ in vielen Listen, wenn es um die
wichtigsten Prog-Metal- oder Progrock-Alben geht. Es war seit
den Originalpressungen auf Steamhammer/SPV nicht mehr
erhältlich! CD und LP wurden separat gemastert, damit jedes
Medium den bestmöglichen Klang entfalten kann.

For his brand-new project Blues Experience, Jake Shimabukuro joins forces with his friend, drumming legend and founding member of Fleetwood Mac, Mick Fleetwood, to create a fresh new take on the Blues. The result is something exhilarating and unique, as these two titans of their instruments reinterpret some of the greatest songs written by some of their favorite songwriters in a Blues setting. Since gaining prominence in the early 2000's, ukulele marvel Jake Shimabukuro has mesmerized audiences with his innovative and dynamic style, taking the instrument to dizzying new heights. Over a dozen solo albums, Shimabukuro has shown a knack for moving effortlessly between genres, sometimes in the same song. Shimabukuro has played the world's most venerable venues, from The Hollywood Bowl to Lincoln Center to the Sydney Opera House and collaborated with some of the world's greatest musicians, including Yo-Yo Ma, Bela Fleck, Jimmy Buffett, Jack Johnson, Ziggy Marley, Sonny Landreth, Billy Strings, Willie Nelson and Warren Haynes. In 2021 he was nominated by President Joe Biden to serve as a Member for the National Council on the Arts.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

In the Spellbound sonic universe, enchanting hooks about friendship and growing up in New Jersey orbit driving verses that prize brevity, never laboring longer than necessary. On lead single “Rocky Road,” Boyscott explore the mental gymnastics required for a career in music, pulling on the threads of fear and excitement they experienced in their early tours. Such reflection is abundant on Spellbound: “Arthur Kill” refers to the peculiar beauty of a boat graveyard in the Arthur Kill tidal strait; where “Lima” interpolates a song that stuck with Hermo since high school. All told, Spellbound continues what Boyscott started with Goose Bumps, honing their pristinely arranged indie pop morsels into a fully realized sound that vindicates the near ten-year wait.

In the Spellbound sonic universe, enchanting hooks about friendship and growing up in New Jersey orbit driving verses that prize brevity, never laboring longer than necessary. On lead single “Rocky Road,” Boyscott explore the mental gymnastics required for a career in music, pulling on the threads of fear and excitement they experienced in their early tours. Such reflection is abundant on Spellbound: “Arthur Kill” refers to the peculiar beauty of a boat graveyard in the Arthur Kill tidal strait; where “Lima” interpolates a song that stuck with Hermo since high school. All told, Spellbound continues what Boyscott started with Goose Bumps, honing their pristinely arranged indie pop morsels into a fully realized sound that vindicates the near ten-year wait.

After the breakthroughs of 2020’s wistfully lush Fear of Death, and 2022’s High School, whose tales of nostalgia were never quite as distant as they seemed, the multi-hyphenate comedian and songwriter Heidecker has reached a new peak with Slipping Away, his warmest and fullest record to date. While all of his albums are concept records to some degree, this one tells a story on a larger scale, offering an imagistic framework that allows for some of his brightest melodies, heaviest themes (the feeling of before the fall and after), and most direct and vulnerable lyrics.

When the world — and his previous band Star Tropics — crumbled in the early days of the pandemic, Chicago's Loren Vanderbilt began rebuilding himself through song. Daydreaming to the chime of IRS-era R.E.M., Felt, The Railway Children, New Order, and 90's staples like Ride, Pale Saints and Slowdive, he fell backwards in time through records as a means of escape. To break away from the present and embrace the nostalgia of musical eras gone by, Loren formed Humdrum — a band built around his favorite elements of dream-pop, indiepop, shoegaze, and new wave. On his debut album, "Every Heaven," Loren establishes himself as a talented songwriter and master of melody across 10 tracks brimming with jangly guitars and lovelorn vocals—all punctuated by the pulse of a driving beat. A deeper listen reveals a juxtaposition between the album's carefree melodies, and its sobering truths about the life, loss, and the questions of being a queer 30-something artist. With "Every Heaven" Humdrum has presented 10 songs that speak to life's dynamic moments. And they can't wait for you to hear them.