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World Of Echo announces the reissue of two remastered albums by Japanese guitarist and songwriter Naoki Zushi, 1988’s Paradise, and 2005’s III. Two classics of Japanese psychedelia, both Paradise and III were originally released on Org Records, the imprint of Shinji Shibayama of acid-folk group Nagisa Ni Te, with whom Zushi has guested on second guitar for decades. Both intimate and expansive, rich with revelatory songwriting and blasted, sky-scouring guitar, these reissues return these albums to print for the first time since the 2000s. It’s the first time III has been officially released on vinyl, with an extra, previously unreleased track, “Under The June Moonlight.”

Recorded in Kyoto’s Townhouse Studios in mid 1987 and released in limited-to-500 vinyl pressing in 1988, Paradise emerged from a scene in Kansai, Japan that was embracing the idiosyncracies of 1970s singer-songwriters, the soaring solos of early seventies psychedelia, and the DIY impulse of 1980s post-punk. While Zushi’s musical history stretched back to the early eighties – he was a founding member of Jojo Hiroshige’s noise outfit Hijokaidan – he found his feet with groups like Hallelujahs, whose dream-pop collection Niku O Kuraite Chikai Wo Tateyo was recently reissued by Black Editions, and Idiot O’Clock.

Paradise appeared two years after that Hallelujahs album and share much the same membership – Zushi’s backing band on several of the songs includes Shibayama on drums and Ken-Ichi Takayama (aka Idiot) on electric guitar, though just as often, Zushi plays all the instruments himself. The coordinates here are wide-reaching – you can hear the volume and intensity of Neil Young & Crazy Horse (on “Hallelujah: Left Side” and “Paradise: Midday”), the slow-motion magic of Galaxie 500, the idiosyncratic spirit of The Only Ones, all mixed up with tender guitar miniatures and stumbling garage-psych-pop moves.

Seven years later, after the transitional album Phenomenal Luciferin, Zushi released III. Perhaps his masterpiece, it’s already been bootlegged on vinyl, but this reissue is the real deal. The album was recorded at Studio Nemu over seven years, and sees Zushi backed by Shibayama (bass) and Masako Takeda (drums), his erstwhile bandmates in Nagisa Ni Te. By this stage, Zushi had started to really stretch out, and many of the songs on III swoon languorously, taking their sweet time to say what they need to say. It’s rich with lovely, melancholy songs, in a similar realm to bandmates Nagisa Ni Te, of course, but you can also hear traces of everything from Syd Barrett’s The Madcap Laughs, through seventies private press loner folk, to the slow-burn meanderings of the likes of early Low or Damon & Naomi.

When interviewed by Shibayama in the mid-nineties, Zushi said of Paradise, “it was a sort of collection of songs that had meant something to me up to that point… it was my paradise. I wanted to create paradise.” That’s something Zushi achieves on both of these albums – visionary Japanese psychedelia, en route to paradise. - Jon Dale







g Under The June Moonlight vinyl only bonus track

**ON LTD SPLATTER VINYL** First time available on vinyl! With bonus tracks and unreleased material! The Sultans formed in 2000 and were John Reis / Slasher and Tony DiPrima and at times also Andy Stamets / Black Flame (Rocket From The Crypt’s ND) and Dean Reis / Black Velvet (Mannequin Piss, Spider Fever, The Heartaches, Los Dug Dugs). Shipwrecked was the bands second album and was released only on CD in 2004.

It was hailed as a “power-pop meets ’70s punk classic” by Virtual Underground Press and “…a masterpiece of the form...essential” by the Cleveland Call And Post. This reissue is a labor of lust with maximum attention to detail in resurrecting these masters from their deteriorated, analog state. The result is a louder, thicker and even more bristling slab of triumphant rock ’n’ roll. Everything on this reissue cuts deeper and breaks the digital glass into razor sharp shards and then shits on the 1s and 0s. Treble Magazine says. “It is the perfect soundtrack to your post-breakup life: fourteen songs about heartache, shame, trying to move on, regrets and just plain old hate. (And by the by, hate has never sounded as good as this)”. Added to the original are four bonus tracks, one being a cover of The Dils “Blow Up” and another the never released “Out Of Focus”. Shipwrecked was the last record at Drag Racist (Hot Snakes, RFTC, etc) before it shuddered its doors for good.

Nu-hardcore quintet, Bodyweb, are the sound of someone’s nervous system on the verge of breakdown—hyperactive, tormented and unflinchingly vulnerable. Born out of the Leeds hardcore scene, they’re a shape-shifting alloy of jagged emotion and precision chaos. What began as late-night jams between Louis Hardy (Higher Power, Big Cheese, Fate) and Ben Jones (Pest Control) eventually mutated into train_wreck_simulation, a debut EP filled with frantic breakdowns and nu-metal swag that felt like the soundtrack to a digital exorcism. The final piece of the puzzle came from Hardy’s estranged childhood friend, pq. His twisted samples and synthetic textures are haunted and disturbed, injecting cyberpunk soul into hardcore flesh. Contorting through several iterations in the following years, the band absorbed Luke Thompson (Stiff Meds) on drums, filmmaker Tom Hobson on guitar and Naomi Macleod (Empire State Bastard) on bass, and laid down their first collective offering. deadwired is due out on Flatspot Records later this year. Bodyweb's second EP is a violent thesis on connection and pain that sends Hardy’s unfiltered vocals through heaven and hell. Four overstimulating tracks run a gamut of styles and influences from Slipknot to Björk, constantly lane-switching between dizzying heaviness, ambient soundscapes and brain-burrowing hooks. Entirely self-produced, deadwired upgrades the sonic formula laid down on the last record and raises the question: what else could exist in Bodyweb’s twisted roadmap? Nothing seems impossible. What seems important, however, is retaining the rawness in a style that can often turn sterile. “We still wanted it to sound very human. It had to be well produced but not cold and lifeless.” shares Hardy. “We didn’t use a click track. All guitars were real amps with microphones. We tried to make everything as real and raw as possible, we recorded using all the same gear we use when playing live too to really capture the energy of how it feels when we jam together." ‘Deadwired’ is a snapshot of violent implosion. Four ADHD-fuelled transmissions from the edge of spiritual collapse. It drags metallic hardcore through glitched-out ambience to confront ego death, generational trauma, and the violence of being alive. On stage, Bodyweb don’t just perform, they purge. Raucous live electronics meld with digitally contorted guitars. Breakbeats meet breakdowns—no backing track in sight. Bodyweb enable a collective catharsis. Mosh, dance, dive, scream, heal. A physical therapy session screamed into the void.

After the dissolution of his band, The Cardinals, in 2009 and some much-needed R&R, Ryan Adams returned in style in 2011 with his 13th studio album. Ashes & Fire, produced by Glyn Johns and preceded by one of Adams’ most popular singles, ‘Lucky Now’, entered the UK chart at number nine (his best showing) and in the US at number seven. It features significant contributions from Norah Jones (piano and backing vocals) and Benmont Tench of Tom Petty ‘s Heartbreakers (keyboards) and is widely regarded as one of the artist’s best and most consistent efforts. Indeed, here in the UK BBC Music described it as, "an album that delivers more and more with every listen,” while NME called it, “an album worth celebrating now”; an assessment that still applies 14 years on.

Fanzine Records is proud to present its 022nd release: "Heavy Mental", the highly anticipated new work from the master of dark electro, Dark Vektor.

Dark Vektor, known for his powerful sound and immersive atmospheres, has been a key figure in the electro scene since the early 2000s. His discography includes works on influential labels such as Electrix, Fundamental, and, of course, his previous releases on Fanzine Records. With "Heavy Mental," Dark Vektor promises to take his distinctive blend of hypnotic rhythms and unsettling melodies to a new level. Get ready for a sonic journey that fuses the raw intensity of electro with the depth of an introspective mental trip.

DESTRUCTION UNIT sind eine amerikanische Band, die in der Wüste Arizonas zusammenkam. Gegründet von Ryan Rousseau waren D. UNIT ursprünglich ein synthielastiges Trio, dessen andere Mitglieder Jay Reatard und Alicja Trout (LOST SOUNDS) waren - ebenso war Rousseau ein Mitglieder der REATARDS, bevor Jay auf Solopfaden wanderte. Geboren im Dunstkreis der Memphis Goner Records Szene und verpflanzt nach Tempe, Arizona, hat Rousseau des Band zu einem kompletten Soundangriff geformt, für den drei Gitarristen (er selbst, Nick Nappa und Jesco Aurelius), sein Bruder Rusty am Bass und ein 19-jähriger, klassisch ausgebildeter Schlagzeuger, Andrew Flores, verantwortlich sind. DESTRUCTION UNIT haben auf dem bandeigenen Label Ascetic House bereits einige Kassetten, auf Jolly Dream eine LP namens ,Void" und kürzlich eine limitierte 7" auf Suicide Squeeze veröffentlicht. ,Deep Trip" ist ihr erstes echtes Studioalbum. Produziert von Ben Greenberg von THE MEN, HUBBLE & PYGMY SHREWS im Vacation Island Studio in New York. Morphium Boogie für den Noisesüchtigen des 21. Jahrhunderts. "Skull-crushing repetition, menacing walls of nuanced guitar noise, feedback magick wah'd from hell to the sky, a sprawling kraut backbone, evil melodies." - Pitchfork

Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. Let's set off together to discover the magic of Caracas in the late '60s! DESCRIPTION Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. "Joropop. Psych Pop & Folk in Venezuela, 1968-1976" features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks-most of which have never been reissued until now. The golden age of Caracas pop started in 1965. It replaced the wave of cloyingly romantic song writing as fresh talents leant into richer and more complex styles: folk-rock, psychedelia, soul, hard blues, symphonic pop, Latin rock etc. Singer-songwriters, experimental electric guitars and jam sessions all appeared on the scene, creating music that became increasingly refined and free. The industry took a while to catch on to this new trend and leave behind the teen idols and dream lifestyles. By the late 60s, there was a long list of new bands in the capital city. Young people finally found their voice. Let's set off together to discover the magic of Caracas in the late '60s!

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”









g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

Established in 2022, Warm Exit is a post-punk quartet hailing from Brussels, Belgium. Their violently frontal music is an explosive blend of sonic intensity that sets them apart as one of the country's most electrifying and raucous acts. Drawing inspiration from Krautrock, Punk, and Noise, their relentless rhythmic prowess is a testament to their diverse influences. Channeling the spirit of iconic 1970s bands like Wire, The Fall, and Public Image Limited, Warm Exit ventures into the shadowy realm of post-punk with their latest EP. Here, they seamlessly oscillate between fast and slow tempos, high and low energy levels, and vocals that span from tense whispers to unbridled screams. This journey takes the listener through a landscape of discordant riffs, haunting groans, evocative spoken word passages, and industrial undertones. Over the past three years, Warm Exit has cultivated a devoted following both locally and internationally, thanks to their electrifying live performances that leave audiences in awe. Carrying the reputation of a striking live band, they are eager to storm the stage at any and every given opportunity.

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]







[g] 7. Grandmother [ft. Laraaji]

Smith & Liddle from the North of England breathe new life into the sounds of classic music eras heard in their debut 7inch single release "Piece of You" b/w "Minute Ago" from their upcoming debut album. Smith & Liddle's music is a glimpse into the sounds of Laurel Canyon and echoes the ways in which musicians of the 60s & 70s started to change direction as the years progressed. Reflecting the duos wide music tastes and even wider record collection, the music you can expect from their own output weaves between Soft Rock, West Coast soul and 60s beat, offering an ultimately wide appealing and joyful collection of songs and sounds to be enjoyed.

* 180 gram audiophile vinyl
* Includes insert
* Guest performances from Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx and Mick Mars (both of Mötley Crüe) and many more
* Featuring the hit-singles "Hey Stoopid" and "Love's a Loaded Gun"

Hey Stoopid Is The 19th Studio Album By Rock Singer Alice Cooper, Released In 1991. After His Smash 1989 Hit Album Trash (movlp1862), Cooper Continues His Success With This Follow-up Album, Which Features Guest Performances From Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx And Mick Mars (both Of Mötley Crüe).

Hey Stoopid Was The Last Music Album To Feature Bassist Hugh Mcdonald Before He Joined Bon Jovi As Their Bassist In 1995.

The Song "feed My Frankenstein" Features Famed Guitar Duo Steve Vai And Joe Satriani Playing Together, Accompanied By Nikki Sixx On Bass. In 2014, "dangerous Tonight" Was Featured In The Video Game Watch Dogs.

Lucas Chantre, aka WORLD BRAIN, last graced us with a solo release half a decade ago, with 2019’s Peer 2 Peer. As its name suggests, that album explored the promise and perils of universal connectivity via quirked-up songwriting and instrumental psychedelia. His new release, Open Source, deepens this internal and external journey. Bursting beyond the four walls of ‘bedroom pop’ and reflecting a move from Berlin to Paris—where much of the album was recorded—and on to Brussels, the album has a jazzy, cinematic scope (as on the Brubeck-inspired march “Fromage collatéral,”) enveloping the listener in a cosmic-pastoral audiosphere.

There are still many tones that evoke the software sounds of decades past (the exemplar here is “cAPTCHA,” whose virtual marimba and vocalese suggest a breathless, Exotica-inspired introduction .mov for the information superhighway) but the palette has become richer and more organic, lead by the woodwinds which play a major role throughout, with flute provided by labelmate Martha Rose. (On the aforementioned “cAPTCHA” one also hears the world-class whistling talents of the incomparable Molly Lewis.)

Yet the single most noticeable new element may be the use of Chantre’s native French, sung by his sister on “Ville fleurie” and the gorgeous, fluttering “Minute papillion” (the title an idiomatic injunction to slow down!) Chantre initially wrote these lyrics in English, but felt something wasn’t quite right, only realizing what was off when he heard them sung in another language. That spirit of discovery – of finding a new spark in returning home – suffuses Open Source. It invites us to play, beckons us to relax, reminds us to find serenity amidst the churn of the present: minute papillon, dans le tourbillon.

Rivet’s new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallbäck has a long credible history in the Swedish underground. First recognised for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. These events led to the release of the more unsettling follow up L+P-2 (Lilo and Pita minus two) on Midnight Shift Records in 2023. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms.

Hallbäck defines his approach as not being married to any particular machine, instrument, process or genre. However he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. The contemporary crate digging method of scouring obscure download music bogs for unique sounds was his preferred research practice.

Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression.

The opening, ‘Catch Up to Light’, sets the scene with ecstatic and odd fluorescent vocals sliding amongst crystalline likembe whilst synths swirl amongst the external festivities. ‘Orbiting Empty Cocoon’ is somewhat a homage to the alien sound worlds of The Orb, one which takes the listener deeper into a mind melting array of teased potential as visual elements are executed in a mask of audio wizardry and euphoric staccato rhythms, the later being a nod to Singeli music. ‘Patitur Butcher’ is more dance frontal utilising the Ghatam drum and a YouTube rip of a Chinese language lesson. ‘Plastic Bag Putain’ was made during the beginning of Russia's invasion of Ukraine and should be clear of its intent. ‘All that Heaven Allows’ is a marimba cover of an imaginary Love Parade anthem. 'Kyrie Geire’ potentially briefly fills the void left by the demise of Coil. The entire trip of Peck Glamour is sewn up with ‘We left before we came’ whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.

Amoul Bayi Records continues its mission of discovering and showcasing West African artists. After introducing talents such as Daba Makourejah and Saah Karim, the Dakar-based label returns with a new release from one of the most soulful
voices in Gambian reggae: Royal Philosopher.

"Thank You Jah" is a song of gratitude, carried by the emotive and distinctive voice of Royal Philosopher. With humility, he expresses his thankfulness for the talent he has received, the path he has walked, and the strength that has guided him along the way.

Built on a dynamic Digi Roots riddim produced by Yared and mixed by Rootical45, the track provides the perfect space for his voice to shine. The refrain – “Thank you Jah for giving I talent” – echoes like a personal prayer and a universal message, able to resonate beyond belief systems.

Royal Philosopher is a Gambian singer whose powerful and precious voice is shaped by spirituality, African heritage, and musical commitment.

Born in Banjul, he first discovered his vocal gift in a church choir, where he developed a heartfelt and sincere expression. He fell in love with reggae through the voice of Garnett Silk, whose intensity and devotion deeply influenced his path. He began his journey with the group The Royal Family, before pursuing a solo career, releasing music with consistency and authenticity.

Today, he presents "Thank You Jah", a single produced by Amoul Bayi Records, imbued with gratitude and faith, true to his artistic vision: sincere, elevated, and deeply connected.

Designed both for turntables and streaming platforms, the single will be released in digital format and on 7" vinyl. The artwork is by renowned Senegalese graffiti artist King Mow.

Hip Hop Collected will take you on a musical journey through the history of hip hop. This 2LP covers the first 20 years of the genre, showcasing 25 early pioneers who participated in the rise of hip hop. This compilation features music from the new labels that started to rise from the underground scene, like Sugar Hill Records, Profile and of course Def Jam. Including artists that defined a genre, a lifestyle and most of all, artists that inspired millions of young kids with both socially critical lyrics as well as classic party anthems.

This hip hop compilation album is part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia and uncovering new musical grounds at the same time.

The 2LP features Kurtis Blow “The Breaks”, Grand Master Flash & The Furious Five “The Message”, Beastie Boys “She’s On It”, Rob Base & DJ E-Z Rock “Get On The Dancefloor”, and Eric B. & Rakim “Paid In Full” amongst many others.

Hip Hop Collected is available as a limited edition of 5000 individually numbered copies on red (LP1) and white (LP2) coloured vinyl. The album includes an insert with liner notes, photos and credits.

Nach der limitierten EP "The Grand Designer" im Juni 2025, präsentiert Adrian Sherwood nun mit "The Collapse Of Everything" sein brandneues Werk, gleichzeitig sein erstes Soloalbum seit 13 Jahren und das vierte seiner langen Karriere. Auf diesem sorgfältig konzipierten Album lotet der Meisterproduzent und Mixologe mit seinem stets experimentierfreudigen Sound neue Grenzen aus. Obwohl die Musik auf "The Collapse Of Everything" von einem natürlichen Gespür für Dub geprägt ist, überschreitet sie fliessend Genregrenzen und vereint nahtlos verschiedenste Einflüsse, die Sherword in seinem Leben gehört und produziert hat. An den Aufnahmen beteiligt waren einige seiner langjährigen Mitstreiter wie Doug Wimbish (Living Color, The Sugar Hill Gang, Tackhead), Mark Bandola (The Lucy Show), Ivan "Celloman" Hussey, Alex White (Primal Scream, Fat White Family) und Chris Joyce (The Mothmen). Desweiteren flossen Beiträge der jüngst verstorbenen On-U-Legenden Keith LeBlanc (Sugarhill Gang, Tackhead) und Mark Stewart (Pop Group) ein.

Adrian Sherwood war in den letzten Jahren sehr beschäftigt mit Kollaborationen mit anderen Künstlern, von Remixarbeiten für Popkünstler wie Halsey, über von der Kritik gefeierten Full-Length-Dub-Rekonstruktionen für die Indierock-Titanen Spoon und Panda Bear & Sonic Boom, bis zur Produktion gefeierter Alben für die Reggae-Ikonen Lee "Scratch" Perry und Horace Andy am Ende ihrer Karriere ("Midnight Rocker" wurde vom Guardian zum weltweiten Album Nr. 1 des Jahres 2022 gekürt). Was bedeutet, dass Sherwood seit "Survival & Resistance", das fast auf den Tag genau vor 13 Jahren erschien, kein Album mehr als Solokünstler herausgebracht hat.

Das neue Album "The Passionate Ones" von dem Singer-Songwriter und Produzent Nourished By Time aus Baltimore erscheint auf XL Recordings. "The Passionate Ones", das zwischen Baltimore, London und New York City entstand, beschreibt auf 12 Tracks auch die kaputten Seiten des American Dreams beschreibt. Nourished By Time entstand Ende 2019 in Los Angeles als eine Art Flucht aus dem Alltag. Marcus Brown drohte an der Monotonie seines Tagesjobs zu zerbrechen und suchte nach einem Ausweg. Browns einzigartige Klangwelt ist geprägt von dem musikalischen Erbe seiner Heimatstadt Baltimore, in der Jazz, Punk, Indie, Hip-Hop, Elektronik und R&B in rauer Harmonie aufeinandertreffen. Auf "The Passionate Ones" beschäftigt sich Brown mit Liebe, Arbeit, Existenzialismus, Träumen, Desillusion und Hoffnung durch die Brille der Metamoderne und dokumentiert die amerikanische Geschichte eines Künstlers, der seinen Leidenschaften und Träumen folgt. "The Passionate Ones" folgt seinem gefeierten Debüt. "Erotic Probiotic 2 (Scenic Route)" erschien 2023 und wurde von US-amerikanischen Plattformen wie Pitchfork zu einem der besten Alben des Jahres erklärt, ebenso stand es auf der Jahresendliste von Gorilla vs. Bear ganz oben und wurde von The Guardian, The FADER, Paste und anderen gelobt. Die EP "Catching Chickens" (XL) von 2024 führte Nourished By Time auch in Europ als Künstler ein: Das CRACK Magazine setzte ihn auf sein Cover und kürte "Hell of a Ride" zum Track des Jahres. Der Song tauchte auf den Listen von NPR, Resident Advisor, CLASH, The FACE, Mixmag, UPROXX und Spotify für die besten Songs des Jahres 2024 auf. "The Passionate Ones" erscheint als LP (Schwarz & Crystal), CD und sowie digital.

Live One ist der legendäre Mitschnitt des mit Spannung erwarteten Auftritts von COIL im April 2000 in der Londoner Royal Festival Hall (im Rahmen des ,Cornucopea"-Minifestivals von Julian Cope). Während es in den frühen 1980er Jahren bereits erfolglose Versuche von Live-Shows gegeben hatte, gilt dieses Konzert allgemein als das wahre COIL-Live-Debüt. In der Besetzung John Balance, Peter ,Sleazy" Christopherson, Thighpaulsandra und Ossian Brown betraten COIL die RFH-Bühne in ihren eigens entworfenen, flauschigen, polaren Teletubby-Anzügen und spielten ein äußerst hypnotisches Set, das ein wenig an ihr bahnbrechendes Album ,Time Machines" erinnerte, aber auch Variationen und Spannungen enthielt, die bei diesem dröhnenden Meisterwerk weitgehend fehlten. Balances Gesang bei "Queens of the Circulating Library" ist immer noch eine sehr kontrollierte, aber effektive Angelegenheit und unterscheidet sich deutlich von seinen späteren manischen Ausbrüchen. Sowohl die Show selbst als auch die lange vergriffene und jetzt sehr gesuchte CD-Veröffentlichung von 2003 wurden extrem gut aufgenommen und wurden zum Eckpfeiler einer schnellen Folge von COIL-Touren in den dazwischen liegenden vier kurzen Jahren bis zu Balances frühem Tod. Diese allererste Doppel-Vinyl-Version dieses fantastischen historischen Dokuments der COIL-Erfahrung wurde vollständig von dem überlebenden Mitglied Thighpaulsandra betreut und ist jetzt auf dem Retractor-Label erhältlich, präsentiert in klassischem Schwarz mit einer aufwendigen Gatefold-Hülle und gepresst auf 180g Vinyl. Auch als Einzel-CD wieder erhältlich.

Sky Blue Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

200 Records marks its 50th release with a four-track EP showcasing both fresh faces and long-time contributors to the label. M.R.E. opens with a vibrant house cut, full of energy and warmth. Blauert follows with a deep, dub-tinged house track, subtle but with a steady, driving rhythm that keeps things moving. Havantepe contributes a deep and intricate Detroit-inspired techno track, rich in texture and unmistakably his own. Till Krüger rounds off the release with a timeless B2 track: —subtle, melodic, and unmistakably his in style.

Highly recommended by Paul Nazca, Tim French, Chad jackson, Brett Gould, Johan, Sinca, Spencer Brown, Steve parry, Ruede Hagelstein,
Karotte, Alexander maier, Greg Eversoul, Dibby Dougherty / Island Hill, Adi Shabat, Michel de Hey, Francesco Chiocci, Paul James Nolan,
Yas Cepeda, Urmet K, Satoshi Fumi, Steve Raschke, Siavash, Ranj Kaler, Nhar / Bernhard Siefert, Four Candles, Alex Neri, Dimitri Schnider / Definition,
Yves Eaux, Cerillio, Paco Osuna, Lonya, Richie Hawtin, Just Her, Stefano Lotti, Nick Stoynoff, Joseph Capriati, Luke Garcia, Mihai Popoviciu, Daniel Mehlhart, Joris Voorn, Jamie Jones, Greg Fenton, Audio Jack, Stefan Weise....to name a few!

Butterfly Records is proud to release a vinyl reissue of Radio Babilonia, the fourth electrifying studio album by Uruguayan alternative band Traidores. The album was originally released on CD and cassette in 1995 and it stands as one of the most representative works of their career. In Radio Babilonia voices of Juan Casanova and Víctor Nattero converge into a symphony of intense emotions and profound reflections. Each note resonates with their musical legacy, rising as a testament to the reality that surrounded them, where pain and beauty intertwine in a powerful auditory experience. With a style that defies convention, their lyrics transport us to a world of poetic chronicles, inviting us to explore the catastrophes of the present and future through their vibrant and critical lens. This album from 1995 is a masterpiece for those who seek an authentic and moving sound - a sonic journey that reflects its time and makes a bold statement. Released in August 1995, Radio Babilonia opens with its title track- a sonic storm that sets the tone with poetic urgency and avant-garde defiance. Songs like "Máquina" and "Crónica del Sur" explore inner turmoil and fracture realities, wrapped in melodic brilliance and sharp arrangements. Nattero's guitar work shines, especially in tracks like "Ella sabe bien" and "Pasajero de un tren," where a sense of déjà vu echoes through the lyrics. Side A closes with the haunting waltz "Como una plegaria," evoking blood-stained devotion. Side B deepens the album's mystique, offering lucid hope through punk anthems like "Enemigo del mundo" and "Fragmentos de mí." It culminates in the defiant "Canción rebelde": "There is no worse evil than chaining oneself to pain." Traidores channel poetic rage into a powerful, redemptive soundtrack for a disenchanted era.

Als Ahmad Jamal 1995 dieses Album veröffentlichte, war es wie ein frischer Windstoß für den Jazz - befreit von der Eintönigkeit junger Musiker, die nur ihre Vorbilder imitierten.
Mit neuer Energie, vertrauten Weggefährten wie Idris Muhammad und James Cammack, sowie Gästen wie George Coleman und Manolo Badrena, zeigt Jamal, warum er zu den unverwechselbaren Größen des Jazz gehört.
Sein Spiel: kraftvoll, elegant, voller Dynamik und mit einem Sound, den man sofort erkennt. Dieses Album ist vielleicht sein stärkstes der 90er - ein Meisterwerk, das man nicht vergisst.

Die legendären und sich ständig weiterentwickelnden Zamrock-Pioniere WITCH (We Intend To Cause Havoc) verschieben mit ihrem neuen Album 'SOGOLO' weiterhin die Grenzen. Nach ihrem bemerkenswerten Comeback und dem von der Kritik gefeierten Zango von 2023 - ihrem ersten Album seit fast 40 Jahren - beweist 'SOGOLO', dass ihr innovativer Geist nach wie vor ungebrochen ist.

Abgeleitet vom sambischen Wort für 'Zukunft', verwebt 'SOGOLO' den von der Garage inspirierten Psych, Funk und Rock, den WITCH in ihrer Blütezeit in den 1970er Jahren buchstäblich miterfunden haben, mit dem experimentellen Geist des Augenblicks. Aufgenommen in Berlin während ihrer Welttournee, strotzt 'SOGOLO' vor Dringlichkeit, Aufregung und Entdeckungen, wie immer angetrieben von der magnetischen Präsenz des Frontmanns Emmanuel „Jagari“ Chanda.

Die Geschichte von WITCH ist fast zu außergewöhnlich, um sie zu glauben. Bekannt als die „Beatles von Sambia“, gründeten sie die Zamrock-Bewegung und veröffentlichten in den 70er und frühen 80er Jahren sieben Alben. Tragischerweise beendete die Aids-Epidemie die Zamrock-Ära und kostete allen Bandmitgliedern außer Jagari das Leben. Ihre Musik wurde 2012 wiederveröffentlicht und löste eine weltweite Wiederentdeckung aus, die zu ihrer triumphalen Rückkehr führte. Zango wurde von der New York Times in den höchsten Tönen gelobt, es gab ausverkaufte Welttourneen und einen preisgekrönten Dokumentarfilm, der weltweit ausgestrahlt wurde.

Mit 'SOGOLO' bestätigen WITCH, dass ihr kreatives Feuer noch immer brennt und beweisen, dass ihr Vermächtnis noch lange nicht zu Ende ist.

- Ltd. Col. LP: (Zamrock Dust (aka Opaque Natural) LP in einfacher Außenhülle und bedruckter Innenhülle)

Das neue Album von HENGE aus Manchester liefert einen Sound, der einen Raum irgendwo zwischen Rave und Prog-Rock einnimmt, von dem niemand wusste, dass er existiert - mit Robotergesang, donnernden Trommeln, Hyperdrive-Bass, roher Gitarre und schwebenden Synths, die sich zu einem euphorischen Soundtrack für einen Weltraumstart vereinen. Während die 2CD im ausgefallenen Gatefold die Tracklist mit zwei verschiedenen Enden präsentiert, lässt sich die B-Seite des limitierten Ecomix-Vinyls auf zwei unterschiedlichen Rillen abspielen, die die beiden unterschiedlichen Enden enthalten. Ausserplanetarisch!

Der in Brasilien geborene und in Los Angeles lebende Gabriel da Rosa ist ein Bossa Nova- und Samba-Künstler, der der traditionellen brasilianischen Musik seinen eigenen Stempel aufdrückt. 'Cacofonia', sein zweites Album, zelebriert sein brasilianisches Erbe mit einem L.A.-Touch.

Nach der Veröffentlichung seines Debütalbums 'É o que a casa oferece' im Jahr 2023 kehrte Gabriel zum ersten Mal seit acht Jahren in den Süden Brasiliens zurück, wo er aufgewachsen war. Bei seiner Rückkehr nach Los Angeles schwor er sich, „nie wieder so lange von meinen Leuten und meinen Wurzeln getrennt zu sein“.

Sein neues Album ist den Erinnerungen an seine Heimat und seine Lieben gewidmet und feiert die Menschen und Traditionen Brasiliens vor einem farbenfrohen musikalischen Hintergrund.

Für Fans von: Rodrigo Maranhão, Sam Evian, Arthur Verocai, Azymuth, Rodrigo Amarante, Pearl & The Oysters, Domenique Dumont, Jerry Paper, O Terno, Stan Getz.

Serenda is a London-based DJ and producer of Guyanese and Greek heritage, known for her rich, eclectic sound rooted in house but never confined by it. Her sets fold between soulful depth and experimental edge, always delivered with a bold, contemporary vision.

Her sets are grounded in rhythm and instinct, built less around genre than sensation. She blends percussive house, warped club music, and raw, organic textures; crafting dancefloors that feel immersive and visceral and emotioanlly charged . There’s a physicality to her sound that edges toward the primal. For Serenda, DJing is a form of play - fluid, responsive, and deeply connected.

She deconstructs and distorts house music with intent, letting in pressure, dissonance, and emotional rupture. Her sets draw on the “timeless mindless states” of Mancuso’s The Loft, unfolding as rituals that don’t smooth over the chaos, they work with it.

Following the release of her debut EP The Prophecy on Josh Caffe’s Love Child label, she made her mark with a headline show in Fabric’s Room 2 and a Rinse FM residency. A regular in London’s queer underground, Serenda is also shaped by New York’s experimental club scene, where experimental sound and unfiltered expression mirror her own ethos.

Afro-diasporic and South American ritual in tension with city life, instinctive rhythm against digital overstimulation. Her fascination with world-building and quantum physics runs through everything she creates, fusing sonic design and sensory experience into one evolving landscape

An archival release of sorts. Leeds-based outfit Drug Free America’s existence spanned 1987-1997 and was chiefly the side project of Brian Moss, from UK synth-pop duo Vicious Pink, along with the late Steve Dixon. Early on, they explored a harder edged, industrial techno type of sound.

However, the tracks issued here are a bit of an anomaly. Culled from their 1995 CD release ‘Narcotica’ and joined by vocalist Hayley Windsor, these long form tracks rest on a tapestry of eternal groove; stringing a high wire between toasty cyberdelic dub canyons and ethereal post-punk architecture. This is the first time the tracks will be appearing on vinyl.

For fans of: Coil, King Tubby, Dead Can Dance, Scorn, Sabres of Paradise, and Vicious Pink

Limited edition of 200 on black vinyl, cut at 45 rpm. Housed in silkscreened, chipboard jackets with full color lyric sheet insert and mint inner sleeves.

This release has already received airplay on NTS.

Featured on Soup To Nuts w/ BabySchön and Channeling w/ Nathan Gregory Wilkins

"Reflection Code" is an EP that delves into the multifaceted aspects of human reflection through a collection of immersive musical compositions, each inviting the listener on a unique sonic journey.

The Practice of Desire — A deep techno track featuring enveloping pads and modulating metallic cosmic sounds, reminiscent of heavy matter from outer space. Accompanied by a lecture from Gangaji, this track adds an extra layer of depth and meaning to the musical experience.

Port Del Compte — Inspired by memories of Spain's stunning landscapes and a performance at the Parallel festival, this track transports the listener to picturesque settings, filling their heart with joy and harmony.

Bad Trigger — This track offers a profound reflection on life events, utilizing an expressive electronic soundscape with a compelling bass line at 144 bpm. It creates an atmosphere conducive to introspection and self-discovery.

Green Frequency — A shamanic sequence infused with forest vibes and the calls of an electronic bird. This composition immerses the listener in nature, evoking a sense of unity with the surrounding environment and the inner self.

"Reflection Code" invites listeners to explore their inner reflections and connect with each composition on a profound level, creating a unique auditory landscape that lingers long after the music ends.

Toki Fuko music can be described as mechanical signals are structured in a hypnotic substance. Their constant musical experimentation actor perceives as an analysis of the surrounding world.

Crafted for the depths of the club, the album pulses with raw analog energy - warm, gritty, and immersive. Each track is designed to resonate through concrete walls, blurring time and space, guiding listeners through dark corners and waves of bass.
But Lost Echoes goes beyond the dancefloor. It's a journey into the invisible - a sonic excavation of forgotten memories and buried emotions. Some echoes are loud and shaping, others faint whispers lost in the flow of time. This album revives them, layer by layer, melody by melody.
A deeply personal and physical experience, Lost Echoes invites you to dive into sound, movement, and memory - to lose yourself and perhaps find something long forgotten.

Wishbone Ash reigned supreme through the 1970s — centered on inspired musicianship, joyful spirit and inventive songs. Their concerts were uplifting and their recorded work sublime. Argus remains a stunning high point in the band's startling repertoire. Argus was a 1972 tour de force, a hard-rocking masterpiece that has gone on to have a huge impact on rock bands moving forward. If you've never heard Argus, you've surely heard music that it inspired.

The British quartet's trademark harmony guitars became a touchstone for many: Thin Lizzy, Iron Maiden, Opeth, and Lynyrd Skynyrd have all acknowledged an Ash influence, and tracks such as Lizzy's "The Boys Are Back in Town," Maiden's "The Trooper," and even Steely Dan's "Reeling in the Years" all have twin-guitar moments that hark back to Argus. But Wishbone Ash were different from the start. They were never strictly a hard rock band; their soaring vocal harmonies and musical grandeur placed them close to progressive rock.

But they weren't strictly prog either: They had no keyboards, no real classical influence and weren't into side-long suites. Their roots were in the blues, and their calling card was twin lead guitars in harmony (played in the original lineup by Ted Turner and Andy Powell). Even the hardest Ash rockers — like "Blowin' Free," the most famous track from Argus — had an ethereal touch. They could rock the big stages, but they did it with subtlety and grace. This is reflected perfectly in the classic album sleeve by prog-associated designers Hipgnosis: The front cover shows a Greek sentry — the "argus" of the title — staring off into the distance. It's a mythic, old-world kind of image until you look closely at the back cover, and see that he's heralding the arrival (or perhaps watching the departure) of a spaceship.

Two worlds colliding. Exactly what the band and album were all about. By the time of Argus, Wishbone Ash were stars in England and cult heroes among Anglophiles in the US. What made Argus a step forward was its flow of moods. The songs don't run together, but there's an emotional connecting thread from the album's somber beginning to its heroic end. The band insisted at the time that lyrics were something of an afterthought: Shortly after its release, main lyricist Martin Turner told NME that he wrote them mainly to fit the mood of the music: "The music that was coming out was very English, very medieval, and the lyrics had to reflect that." Added Powell at the time, "The expression comes out in the guitars. We wouldn't play it if it didn't express something." Now, Analogue Productions has applied all of its vaunted craft and technical expertise to make this epic album shine! Two 45 RPM LPs pressed on virtually silent 180-gram vinyl at Quality Record Pressings make the remastered audio sparkle. Quieter lyrical sentiments and softer musical passages are rendered precisely, while majestic riffs and fist-waving anthems fully reveal the energy of the music! Argus isn't just another rock record — it's a journey through a sonic landscape rich with depth, emotion and technical prowess. It's the album that solidified Wishbone Ash as masters of twin guitar harmony. Discerning audiophiles will find Argus an essential addition to their record collection. It's a masterclass in sound engineering that fully captures the intricate interplay of dual guitars with pristine clarity and a warmth that only analog recordings can provide.

Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy.

The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail.

The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music.

Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers.

For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail. The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP.

This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music. Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.

"Wao" ist das spontane und traumhafte neue Album von Joseph Shabason, Nicholas Krgovich und dem legendären japanischen Duo Tenniscoats. Aufgenommen an zwei ungeplanten Tagen in der Künstlerunterkunft Guggenheim House in Kobe am Meer, fängt "Wao" die Magie der reinen Improvisation, die Freude an einer sofortigen Verbindung und die stille Poesie des Alltags ein. Das Projekt begann im Frühjahr 2024, als Shabason und Krgovich zu ihrer ersten Tournee als Duo nach Japan reisten. Labelchef Koji Saito organisierte nicht nur ihre Termine, sondern auch für Tenniscoats - Saya und Takashi Ueno -, die sowohl als Vorgruppe als auch als Backing Band fungierten. Nach nur zwei Proben stimmte die musikalische Chemie auf der Bühne sofort, und ihre Auftritte wurden von Abend zu Abend flüssiger und spielerischer. In Erwartung ihrer Synergie buchte Saito während einer kurzen Tourneepause Zeit für Aufnahmen im Guggenheim House. Die Sessions waren völlig unstrukturiert: keine Songs, keine Pläne - nur Instrumente, ein paar Mikrofone und der Schwung eines gemeinsamen Gefühls. Was dabei herauskam, ist eine Sammlung von Songs, die sich in Echtzeit entwickelt haben. Am ersten Tag schrieb Nick im Garten eine Melodie, inspiriert von japanischen Bezeichnungen für verschiedene Wolkentypen, während die anderen unwissentlich eine vergessene Tenniscoats-Melodie wiederbelebten. Stücke wie ,A Fish Called Wanda" und ,Departed Bird" entstanden in solchen Momenten, geprägt von Intuition und sanften Einwürfen alltäglicher Wunder. Zuggeräusche von den nahegelegenen Gleisen driften in die Aufnahmen hinein und wieder heraus und fügen dem luftigen, intimen Sound Textur und Lokalität hinzu. Musikalisch schwebt Wao zwischen dem zarten, experimentellen Folk-Pop von Tenniscoats und der charakteristischen Wärme und melodischen Klarheit von Shabason und Krgovich. Es gibt ein sanftes Gefühl der Überraschung, das sich durch das Album zieht - Ideen, die von Hand zu Hand gereicht werden, Gesang, der wie ein Geschenk dargeboten wird, jeder Track kommt ohne Gewalt an. Die Reihenfolge des Albums folgt der Reihenfolge, in der die Songs entstanden sind, um die Frische und den Fluss der Erfahrung zu bewahren. "Wao" ist eine Hommage an die Leichtigkeit, das Vertrauen und die Freude, gemeinsam etwas Ephemeres zu schaffen, und ist weniger ein ausgefeiltes Statement als ein wunderschöner gemeinsamer Moment. Wie Saya nach einer Aufnahme flüsterte: "Oh_ wao". Diese stille Ehrfurcht sagt alles.

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

next instalment in our ongoing ‘Yearbook’ series – pressed in lovely-lime-green vinyl on a 3-LP set packed with 47 stellar tracks celebrating a brilliant year of pop singles. NOW – Yearbook 1976.



LP1: Kicking off in magnificent style with signature songs from legendary artists: A #2 in 1976, Queen’s ‘Somebody To Love’ is first up, followed by Electric Light Orchestra with ‘Livin’ Thing’, Fleetwood Mac with ‘Say You Love Me’, and 10cc with ‘I’m Mandy Fly Me’. Dr. Hook had a huge hit with ‘A Little Bit More’, and Chicago hit #1 with their all-time classic ballad ‘If You Leave Me Now’, while the side closes with Eric Carmen’s enduringly popular ‘All By Myself’. Flip the LP over for huge hits from the year – including 4 #1s: 14 years after making their UK chart debut, Frankie Valli & The Four Seasons enjoyed their first chart-topper with ‘December 1963 (Oh What a Night)’, whilst Leo Sayer reached #2 in the UK, and #1 in the US with ‘You Make Me Feel Like Dancing’. Pop gems follow from David Dundas, Bryan Ferry, Sailor, Smokie – and Slik, featuring a pre-Ultravox Midge Ure reached the top with ‘Forever And Ever’. Showaddywaddy celebrated their biggest hit and their first #1 with ‘Under The Moon Of Love’, and the UK won at Eurovision, with the winner ‘Save Your Kisses For Me’ by Brotherhood Of Man not only hitting the #1 spot but also becoming 1976’s biggest seller and bringing the first LP to a close.



LP2: Opening with a stellar run of pure-pop classics. Elton John celebrated his first UK #1 single, in a duet with Kiki Dee on ‘Don’t Go Breaking My Heart’, and Cliff Richard with ‘Devil Woman’, ahead of dance-floor favourites – and both #1s in ’76: Tina Charles with ‘I Love To Love’ and The Real Thing with ‘You To Me Are Everything’. More pop nuggets follow from Billy Ocean and Dana, before the side finishes with R&J Stone with ‘We Do It’ and the sublime ‘Midnight Train To Georgia’ from Gladys Knight & The Pips. Over on the second side, ‘Silly Love Songs’ gave Wings a UK #2 and became ‘76’s biggest seller in the US and opens a run of great vocalists; Neil Diamond, Daryl Hall & John Oates with ‘She’s Gone’, Paul Simon’s ’50 Ways To Leave Your Lover’ and a trio of the year’s classic rock smashes: ‘The Boys Are Back In Town’ from Thin Lizzy, ‘Squeeze Box’ from The Who, and closing with the epic ‘Music’ from John Miles.



LP3: Celebrating ‘76’s dancefloor with a stunning collection of disco and soul gold: First up, Donna Summer with her debut smash ‘Love To Love You Baby’ before ‘More More More’ from Andrea True Connection and Candi Staton’s timeless ‘Young Hearts Run Free’. Melba Moore with ‘This Is It’ comes ahead of Diana Ross with the genre-defining ‘Love Hangover’, and the side is completed with huge floor-fillers from Tavares and Barry White ahead of The Isley Brothers with the soul standard ‘Harvest For The World’ and over on the final side country music is represented with Dolly Parton making her UK singles chart debut with ‘Jolene’ three years after it was a hit in the US, but it was a Dutch band, Pussycat, who hit the top with their country-pop track ‘Mississippi’. Bonnie Tyler made her chart debut with ‘Lost In France’, and ‘Forever And Ever’ gave Demis Roussos a ’76 chart topper, and an easy-listening classic, whilst Guys N Dolls had a second Top 5 hit with their cover of ‘You Don’t Have To Say You Love Me’. The LP ends with a trio of the year’s most beautiful ballads: Gallagher And Lyle with ‘Heart On My Sleeve’, ‘Love And Affection’ the stunning singles chart debut for Joan Armatrading, and finishing with a second peerless single on this collection from Elton John with ‘Sorry Seems To Be The Hardest Word’.



NOW – Yearbook 1976 – a celebration of the diversity and wonderful creativity of a truly fabulous year in pop.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

"Ephemeral Memory" ist das Debütalbum von Hip-Hop-Produzent, Komponist und Multi-Instrumentalist Braths, aka Thomas Horeczko, bei Sony Music. Darauf präsentiert der für seine Zusammenarbeit mit Hip-Hop Stars wie Apache 207, reezy, Nimo und Olexesh, Chapo102, oder Ezhel bekannte Musiker eigene instrumentale Kompositionen. Miniaturen für Soloklavier verbindet er mit gelayerten Streicherklängen und melancholischen Orchesterarrangements zu einer eigenen, atmosphärischen Klangwelt. Viele Instrumente hat Braths dabei selbst eingespielt, als Special Guests sind Esther Abrami und das ORF Radio-Symphonieorchester Wien auf dem Album zu hören. "Ephemeral Memory" ist für den 1998 in Paris als Sohn einer sudanesischen Mutter - einer Cellistin - und eines ukrainischen Vaters - einem Komponisten - geborenen Braths eine Hommage an die Geschichte seiner Familie und Vorfahren. Das Album thematisiert die Migrationserfahrung seiner eigenen Familie und die damit verbundenen, latenten Erinnerungen und komplexen Emotionen, die über Generationen fortbestehen. Erfahrungen wie Sklaverei und die Mühe Grenzen und Nationalitäten zu überwinden, spielen dabei eine Rolle. Braths wurde 1998 in Paris als Sohn einer sudanesischen Mutter, einer Cellistin, und eines ukrainischen Vaters, einem Komponisten, geboren und war von klein auf von Musik umgeben. Sein vielfältiger kultureller Hintergrund, bereichert durch jüdische und muslimische Wurzeln, hat seine mehrsprachige Identität als europäischer Weltbürger geprägt. Als klassisch ausgebildeter Geiger und versierter Musiker begann Braths seine musikalische Reise im Alter von vier Jahren und beherrscht sieben Instrumente, darunter Geige, Gitarre, Saxophon, Fagott und Klavier. Nach seinem Umzug nach Berlin, um Tontechnik und Jazzkomposition zu studieren, machte er sich schnell einen Namen in der europäischen Hip-Hop-Szene und arbeitete mit einigen den größten Künstlern des Genres zusammen, wie Apache 207, reezy, Nimo und Olexesh. In "Ephemeral Memory" kombiniert Braths seine facettenreichen Einflüsse zu einzigartigen, atmosphärischen Instrumentalkompositionen, die die Zuhörer dazu einladen, über ihre eigenen Geschichten und Emotionen nachzudenken.

Mit "I Hope We Can Still Be Friends", seinem Einstand bei Saddle Creek, geht Dean Johnson einen Pakt mit den Hörern ein: Er wird Ihnen seine Wahrheit auf die herzlichste und charmanteste Art und Weise singen, die möglich ist, wenn sie versprechen, unvoreingenommen zu bleiben. Der Titel rührt von der spielerischen Art her, mit der der Singer/Songwriter/Gitarrist aus Seattle mit seinem Livepublikum kommuniziert. Im Mittelpunkt steht der Archetyp des 'Energievampirs', der nervtötende Schwätzer, dem wir alle schon mal begegnet sind, und die Texte sind zugleich intellektuell bissig und unverkennbar urkomisch. Seine zarte Stimme klingt wie der Geist von Roy Orbison oder ein Everly Brothers-Außenseiter.

Im Alter von 50 Jahren gelang Dean mit dem Debüt "Nothing For Me Please" 2023 der Durchbruch. "I Hope We Can Still Be Friends" ist im Wesentlichen eine Anthologie - von den Anfängen bis zur heutigen Reife. Jeder Track enthält scherzhafte Gesellschaftskritiken oder liebevoll wiedergegebene Herzensangelegenheiten. Wie der Country-angehauchte Sound von John Prine oder Kris Kristofferson, der umwerfende Humor und die ökonomische Tiefgründigkeit, gebrochen durch den Dunst einer Kneipe, ist das Album voller lässigem Twang, trauriger Charaktere, universeller Wahrheiten und der Absurdität des Alltags. Mit scharfen Beobachtungen und bewegenden persönlichen Einsichten bieten die 11 Songs Raum für intensive Reflexion und emotionale Befreiung. Man kann lachen, weinen oder beides.

GER Das gefeierte ruandische Folk-Duo The Good Ones kehrt mit einem besonderen Album zurück: Rwanda Sings with Strings verbindet ihre charakteristischen akustischen Songs mit feinfühligen, improvisierten Arrangements für Cello und Violine. Produziert von Grammy-Gewinner Ian Brennan (Tinariwen, Ramblin" Jack Elliott), wurde das Album komplett live und ohne Overdubs in einem Hotelzimmer aufgenommen - nur einen Tag vor ihrem NPR Tiny Desk-Auftritt. Die Streicher - Gordon Withers (Cello) und Matvei Sigalov (Violine) - kannten sich vorher nicht, spielten ohne Noten oder Proben, und schufen dennoch in einem Take eine magische Klangwelt. Sänger und Gitarrist Adrien Kazigira schrieb über 23 neue Songs, von denen 19 aufgenommen wurden. Wie immer singt er in Kinyarwanda, der Landessprache Ruandas. Die Lieder handeln von Liebe, Verlust, ländlichem Leben und gesellschaftlichem Wandel - mit einer emotionalen Tiefe, die an Nick Drake, Boubacar Traoré oder Astral Weeks erinnert. Begleitet wird Kazigira von Janvier Havugimana, der wie gewohnt auf Alltagsgegenständen Perkussion spielt. Ein zutiefst menschliches, intimes Album - roh, poetisch und voller Hoffnung. Celebrated Rwandan folk duo The Good Ones return with a deeply intimate and emotionally rich album. Rwanda Sings with Strings pairs their signature acoustic sound with delicate, improvised arrangements for cello and violin. Produced by Grammy-winner Ian Brennan (Tinariwen, Ramblin" Jack Elliott), the album was recorded entirely live-no overdubs-in a Washington, D.C. hotel room, just one day before their NPR Tiny Desk performance. The string players-Gordon Withers (cello) and Matvei Sigalov (violin)-had never met before the session and played without sheet music or rehearsals. Yet, in a single take, they created a soundscape that feels both spontaneous and transcendent. Lead singer and guitarist Adrien Kazigira wrote over 23 new songs for the project, 19 of which were recorded. As always, he sings in Kinyarwanda, Rwanda"s national language. The songs explore themes of love, loss, rural life, and cultural change, with a poetic depth reminiscent of Nick Drake, Boubacar Traoré, or Astral Weeks. Kazigira is joined by Janvier Havugimana, who provides harmonies and percussion using everyday objects like cups, plastic wrap, and old boots. A raw, heartfelt, and hopeful album-quietly powerful and profoundly human.