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Here comes No Obligation, the second full-length release from THE LINDA LINDAS further advances their unironic, joyful, and exciting trajectory of mashing up L.A. punk with alt-rock, garage rock, power pop, new wave, rock en español. No Obligation was written and recorded by the band during spring breaks, winter breaks, and long weekends (Lucia and Eloise are still in high school, Mila just finished middle school, and Bela is patiently waiting for them to get done with it already) and was produced by Carlos de la Garza (Paramore, Best Coast, Bleached). Known for their incredible musicianship and live performances, the band who has shared stages with and opened for Paramore, Japanese Breakfast, Jawbreaker, and Yeah Yeah Yeahs, are about to embark on a massive two-month tour across America with Green Day. Look for headlining shows at small clubs in between-including a sold-out gig at the famously DIY Gilman Street in Berkeley. The new album, No Obligation, is out on October 11 . No Obligations. No expectations. No limits for THE LINDA LINDAS.

Here comes No Obligation, the second full-length release from THE LINDA LINDAS further advances their unironic, joyful, and exciting trajectory of mashing up L.A. punk with alt-rock, garage rock, power pop, new wave, rock en español. No Obligation was written and recorded by the band during spring breaks, winter breaks, and long weekends (Lucia and Eloise are still in high school, Mila just finished middle school, and Bela is patiently waiting for them to get done with it already) and was produced by Carlos de la Garza (Paramore, Best Coast, Bleached). Known for their incredible musicianship and live performances, the band who has shared stages with and opened for Paramore, Japanese Breakfast, Jawbreaker, and Yeah Yeah Yeahs, are about to embark on a massive two-month tour across America with Green Day. Look for headlining shows at small clubs in between-including a sold-out gig at the famously DIY Gilman Street in Berkeley. The new album, No Obligation, is out on October 11 . No Obligations. No expectations. No limits for THE LINDA LINDAS.

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

Caroline Says' haunting new album, The Lucky One, is a poignant exploration of how the ghosts of past relationships linger, sometimes holding more sway over our hearts and minds than our current connections. We revisit these ghosts through evocative landscapes of our memories - hometown bars, road trips, and late-night swims. Through a series of fractured and persistent memories these songs capture the bittersweet realization that the past, though imperfect, can sometimes be a more comforting and meaningful companion than the present. Opening track, "The Lucky One," confronts death's role in shaping our memories head-on, as it ponders the way death freezes a person in time, forcing us to confront the complexities of grief and its lasting impact on our relationship with the one we lost. Other tracks delve into the complexities of relationships that naturally grow apart as life takes us in different directions. For example, "Faded and Golden" reflects on the bittersweet nature of reunions with old friends, where the idealized memories of youth can clash with the realities of the present. Then, "Actors" takes this a step further, acknowledging the influence of perception and desire in friendships, and the idea that in many ways "all friendships are imaginary friendships," as it confronts the disappointment of inauthentic connections, and the facades we sometimes put on in relationships. "Roses" began when Caroline was looking through her grandma's collection of commemorative Kentucky Derby glasses, each one etched with the name of a winner. The song delves into the story of "Sunday Silence," the horse that won the year Caroline was born. Researching the horse's journey from near-Triple Crown glory to retirement in Japan sparked a metaphor - a pressured being (the horse) desperately trying to please but ultimately disappointing. The owners eventually selling the horse becomes a relatable symbol of unmet expectations, and the sting of falling short despite our best efforts. Album closer, "Something Good," revisits Caroline's Alabama childhood. Lost on a recent trip to Birmingham, unable to find the familiar path to a riverside hangout, the experience becomes a powerful metaphor; we can't always retrace the paths in our memories, but those memories, however unreliable, continue to shape us. In the end, The Lucky One celebrates this enduring power, acknowledging how past relationships and experiences, even those lost to the haze of time, continue to inform the stories we tell ourselves, and the way we navigate the present.

Reissue on Limited "Deer Glisten" Blue Vinyl in Gatefold-Cover | Obi-Strip | 24x36 Insert incl. Download-Card!

Toe is composed of Kashikura Takashi on drums, Yamane Satoshi on bass, and Mino Takaaki and Yamazaki Hirokazu on guitar. Formed in 2000, they've spent the past decade building a huge online fan base around the world based on their mostly instrumental music, with the swift and acute drumming of Takashi and their melodic, clean guitar settings at the core. Toe is renowned back home in Japan for creating a thrilling, beautiful live sound incorporating acoustic guitars, Rhodes piano and vibraphones.

Japan's long running masters of psych/kosmische jamming return to Important Records for a vinyl outing featuring beloved original member Cotton Casino.

Trust Masked Replicants finds AMT in fine form, creating experimental psych-rock improvised around skeletal compositions. The group's leader, Kawabata Makoto, holds the group together while they navigate chaos infused, drone based jamming at the outer edges of human consciousness.

Side B, featuring the 20 minute track Asoko Ananda, is a classic side-long fast paced AMT burner combining sped up kosmische rhythms, filter sweeps, free-jazz piano, tabla drumming and vocal experiments. Asoko Ananda utilizes many of the group's skills, ascending to the height of their collective, mountainous ability.

Channeling prog, krautrock, modern composition and noise, Kawabata Makoto formed the Acid Mothers Temple in the early 90's. The group has gone on to release countless albums while touring the globe.

“Django” and “Japanese Funk Machine” are 2 mid80s outstanding avant-garde dance tracks released by UnknownmiX, a Swiss avant-experimental group with unique vocal, punkish/art-pop/minimal wave atmosphere, solid synth and percussions in an anarchic world.

At the center of the project were the very talented vocalist Magda Vogel and the well-known experimental composer Ernst Thoma, who with this radical project sought to push boundaries and explore extremes with sounds that moved between tribal and distorted far ahead of their time.

The remixes were made by cosmic wizard Daniele Baldelli, assisted by the faithful Marco Dionigi, and Delphi (half of Tiger & Woods).

Readers of encyclopedic tomes are obviously familiar with exploding animals – there are numerous reports of torn-apart toads (even in Hamburg, Germany!), actual ants exploding altruistically – but humans that decide to jointly detonate, and with no harm done, that’s rare: Kobe’s own o'summer vacation are unique (and volatile) like that, and they’re back to light the fuse for the second time, presenting 13 more musical quarter sticks that have already blown up venues in Europe and Japan.

“Keep it lean, keep it mean,” they say, and that’s what this band loves to take to the extreme: breakneck concision and collective combustion meet freeform noise punk hazards on o'summer vacation's second (not quite) full-length – as the Kobe-based three-piece’s “Electronic Eye” is set to arrive on October 11, 2024. Following a bunch of trips to Berlin, Munich etc., the Japanese fire starters have found a new home with Alien Transistor, and it’s the perfect launch pad for their latest set of guitarless pyrotechnics. Going right for max q (maximum dynamic pressure), “Electronic Eye” is (unlike those Starships) actually supposed to explode right after lift-off ;)

Even though there have been some line-up changes since the group recorded its sophomore album, the energy caught by producer Shinji Masuko (DMBQ, Boredoms) is still unmatched: a very physical and hard-knocking barrage of mosh-inducing madness that leaves you speechless + inevitably twitching towards the pit. Mastering was done by Masaki Oshima aka Watchman (Melt-Banana).

Opening with sizzling hi-hats and heavy ripples of breathless bass, singer Ami presents a non-sequitur kind of lullaby over the math rock-style interlocutions of “宿痾 (Shuku - A)” – which at 6+ minutes makes up more than a quarter of the album. A shapeshifting frenzy of voice (Ami), unbridled, pedal-powered bassline insanity (Mikkki, formerly Mikiiiii), and hot-blooded drums (Manu, meanwhile replaced by Karry), the album features mosh-inducing blows (previously released “Luna,” “Anti Christ 大体 Super Star”), 30-sec mini noise punk anthems (“竦(shou)”, “Days Go By Fast”), and continues to surf at breakneck pace up and down scales (“@ The”), which often feels like catharsis served with a hammer (“Ultra”). Whereas some tracks are bigger more song-y than others (“Song#2,” that full-throttle “Poodle”), “Vs I” is on time like Tierra Whack (exactly 60 seconds of pick-grinding action), and “Rage” indeed feels like Zack is about to join the party – only to see Ami wipe the floor with pure onomatopoetic fire. Finally, “Aloooooone” and “Humming” (that opening lilt!) are sure going to be live favorites, shifting up and down via hardcore speeds and various break-downs.

Quite hotheaded and terminating things on a high note, o'summer vacation point out that the quick-fire lyrics of their “songs have no meaning. It’s called onomatopoeia in English. Ami, our vocalist, does not like to communicate her thoughts through her music.” Although she considers her contribution “a part of the instrumentation,” they still have strong messages and concerns (unrest, discontent, willingness to shake, wake up, enliven anyone near the audible bomb crater): “That doesn’t mean we don’t have a point of view, but we choose to express ourselves through sound rather than words. Generally, but not exclusively, we are anti-racism, anti-war, gender-free, angry at the companies we work for and their bosses, etc., which are very common sentiments held by so-called rock bands.”

It’s only three ingredients, just like sonic gunpowder: bass, drums, voice – but they tend to explode a few bars into each new track. In a perfect world, there’d be giant colorful clouds of dust gracing the sky over each venue they descend upon.

Electric Japanese Deep House, influenced by Detroit and Chicago original sounds. B1 track's key by Munir (Indonesia)

You may not have heard of Long Beach O.G. Greg Royal aka Pür Royale, but you're definitely familiar with his work. With a resume of remix, production, engineering, and editing work ranging from Dr Dre's "The Chronic" to Bobby Brown's "My Prerogative", to the dub version of Patrice Rushen's "Feels So Real", Greg left an indelible mark on contemporary black music from the mid-80's to mid-90s.

In 1993 however, a one off 100 copy house 12" self titled as "Royal Phenomena" on the surface didn't seem to quite fit with the more traditional hip-hop and r&b output of his extensive discography. I only found out it existed through connecting with another unsung west coast pioneer, Aaron Paar, for Must Have's 2016 Teflon Dons compilation. Greg is credited as a mixing and recording engineer on practically every release on Aaron's own consistently excellent label Worldship. After listening to Aaron tell his story, it was clear Greg's studio experience and mentorship were key elements in the development of Aaron's signature tough SP-1200 house sound. "Royal Phenomena" remains an elusive connecting point for LA hip-hop and underground deep house, and Greg and Aaron remain friends and frequent collaborators.

Aaron put me in touch with Greg, who miraculously kept his original DAT tape recordings of these unique house excursions and was happy to finally share them with a wider audience. Blending hip-hop production techniques, west coast Latin sleaze, midwestern minimalism, and a dash of UK bleep, the LA underground house sound remains singular.

With a remix and a compilation cameo already under his belt, Canadian figurehead Priori makes his Kalahari return for the debut proper. 3 squelchy incursions complete with a hefty remix from fellow Oyster Cult acolyte Sansibar.

Known for traversing breezy, horizontal zones, the NAFF co-founder sets downbeat and ambient concerns aside for the direct and propulsive. Expect insistent, urgent forays down the wormhole as nocturnal jaunts made of ritual and darkroom throb coalesce with meditative, essential rhythm.

This is fractal gear born from the the traditions of European, Japanese and American Mid-West techno; tunnelling and immersive, conjuring moments of ascension for the gathered masses.

Finishing on Sansibar’s meaty refit, the one-two punch of seismic kick and dry-as-bone snare propels Priori’s original in a whole new direction. .

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

The trio of Japanese Saxophone legend Akira Sakata with the scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music - drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria.

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and toured North America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home. That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released on October 4th via Hellcat. "SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers, and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Mode and The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense font of inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barn where the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, an art studio, a storage space and a hangout spot all-in-one. Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere you notice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got a lot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have in London." RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al - bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producer Stephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

Der Assistent scheint am Ende. In der dubiosen Klinik unter Palmen kommt er umnebelt zu sich. Diagnose: Amnesie am Amazonas! Eine Kakteensaft-Kur soll helfen bei der Spurensuche im Sumpf der Erinnerung. Am Ende bleibt nur die Erkenntnis: "Nichts holt mich ab, so wie die Melancholie."
Wie bei seinem Debut wird der Assistent auch beim zweiten Teil seiner Odyssee von den Klängen der späten siebziger und frühen achtziger Jahre begleitet. Ein Sound wie auf einem Mixtape, das zu lange in der südamerikanischen Sonne auf der Heckablage eines verbeulten Citroën Visa lag. Sein Sofrito aus Library-Muzak, Dub-Rhytmen, japanischem Reggae und Yachtrock, gewürzt mit Latin und Bossanova, serviert er auf zartem Weißbrot-Soul. Die Texte sind bisweilen absurd, stets sehnsuchtsvoll und mindestens doppeldeutig. Hier und da wurde ein Easter Egg versteckt: Jörg Fauser, Raymond Chandler und Agatha Christie lassen grüßen. In bekannter Marlowe-Manier driftet der Erzähler verstrahlt durch die (Alp-)Traumwelten seiner acht Lieder. Ist es Tom Hessler selbst, der dort im Zerrspiegel der Cocktailbar erscheint, oder sein Alter Ego? Der Assistent kehrt zurück als relaxed-verzweifelter Fitzcarraldo, der versucht einen Urlaubsdampfer voller Grooves aus der Spree über einen Zauberberg im Regenwald zu hieven, und dabei in Welten jenseits von Raum und Zeit entschwindet. Dabei helfen Wolfgang Pérez (Golf), Magic Manfred (Stella and the Longos), Pedro Goncalves Crescenti (The Düsseldorf Düsterboys, International Music) u.v.a.

The Smile haben ihr neues Album "Cutouts" für den 04.10.2024 angekündigt. Mit "Foreign Spies" und "Zero Sum" sind zugleich zwei neue Tracks erschienen, wobei der Künstler Weirdcore zu letzterem auch ein Video kreiert hat. Bereits erschienen sind "Don"t Get Me Started" und "The Slip", zwei Stücke, die Anfang des Monats als limitierte 12"-Single kurzzeitig weltweit in Plattenläden auftauchten. Thom Yorke, Jonny Greenwood und Tom Skinner haben einige der Songs von "Cutouts" erstmals auf der März-Tour in UK gespielt. Insgesamt enthält das von Sam Petts-Davies produzierte Album, das auf "Wall of Eyes" aus dem Januar und das 2022er-Debüt "A Light For Attracting Attention" folgt, zehn neue Tracks. "Cutouts" wurde zur gleichen Phase wie "Wall Of Eyes" in Oxford und den Abbey Road Studios aufgenommen und enthält String-Arrangements vom London Contemporary Orchestra. Das Artwork von Stanley Donwood und Thom Yorke entstand während der Aufnahmen. "Cutouts" ist bereits das zweite Studioalbum der Band in weniger als einem Jahr. Sein Vorgänger erreichte Platz 4 der deutschen Albumcharts und die Nummer 3 in UK. Thom Yorke veröffentlichte im April außerdem den Score zu Daniele Luchettis Film "Confidenza" und kündigte eine Solotour für Neuseeland, Australien, Singapur und Japan an. Jonny Greenwood arbeitet aktuell am Score zu Paul Thomas Andersons kommenden Film "The Battle of Baktan Cross". Tom Skinner hat das Album "Voices of Bishara Live at mu" veröffentlicht und tourt mit seinen Soloarbeiten im Rahmen internationaler Jazz-Festivals.

Born in London to Scottish parents, Bishop Briggs grew up in Japan and Hong Kong. Days after graduating high school, she moved to Los Angeles where, after years of performing at any venue that would have her, she was discovered in a small hole-in-the-wall by a former-A&R rep and the rest was history. The music of Bishop Briggs transcends the limitations of singular genres, blending folk, pop and electronic music into a wholly unique sound. Her debut track “Wild Horses” reached #1 on Spotify's US Viral Chart and #2 on Spotify’s Global Viral 50 charts, with airplay on Sirius XM’s Alt Nation, Zane Lowe’s Beats 1 Show and a prized spot in Acura’s 2016 TLX and ESPN’s NFL Playoffs ads.

Vier Jahrzehnte Alphaville! Als eine der wenigen deutschen Bands hat es die von Marian Gold, Bernhard Lloyd und Frank Mertens gegründete Pop-Formation geschafft, sich mit Hits wie „Big in Japan“, „Forever Young“ oder "Sounds like a Melody" einen festen Platz in der internationalen Musikszene zu erobern und Generationen von Fans zu begeistern. Und das bis heute: Im Herbst erscheint die erste karriereübergreifende Werkschau der Band: „ALPHAVILLE FOREVER! - BEST OF 40 YEARS“ wird ab dem 27. September 2024 auf CD und Vinyl erhältlich sein - auf den Tag genau 40 Jahre nach der Veröffentlichung des Debütalbums „Forever Young“.

Die 3-CD-Version (Digipack) enthält 40 Tracks und ein 20-seitiges Booklet, die gekürzte LP-Version (180g) eine bedruckte Innenhülle mit Credits und vielen Fotos sowie in der limitierten Erstauflage ein exklusives Poster. Das Besondere: die Fans von Alphaville stimmten im Vorfeld weltweit über die Tracklist der 3CD ab. Über ein spezielles Voting-Tool konnten sie ihre 40 Alphaville-Lieblingssongs auswählen, in die gewünschte Reihenfolge bringen und als Playlist abspeichern.

Translucent orange vinyl. Chilli Beans. are a three-piece band from Japan, formed in 2019 by Moto (vocals), Maika (bass & vocals) and Lily (guitar & vocals). Their neo-garage style fuses indie rock with garage infused guitars and catchy melodies. Since 2019, the band has released 4 EPs and two albums on A.S.A.B. and played several nationwide headline tours in Japan. On July 13, 2022, Chilli Beans. released their first full-length album "Chilli Beans." including the hit singles "lemonade", "andron", "Tremolo" and "School". The song "you n me" from the third EP "mixtape" was selected as the opening theme song to the TV Tokyo J-Drama series "Play It Cool, Guys".