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In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Oscillation marks a significant step forward for OH HIROSHIMA. On their third studio album, the Swedish band further refines its distinctive blend of atmospheric post-rock, weaving together shimmering guitar lines, weightless vocals and understated electronic elements into seven richly textured soundscapes. Balancing intimacy with grandeur, Oscillation unfolds like a lucid dream_at once delicate, expansive and quietly captivating. OH HIROSHIMA began with Resistance Is Futile, a largely instrumental post-rock debut that already hinted at their atmospheric sensibilities, with only subtle early traces of vocals. On In Silence We Yearn, the band's identity became more defined, with vocals taking on a more central role and their sound expanding into emotionally driven, shoegaze-tinged post-rock. With Oscillation, they refined this approach into more complex, denser song structures, balancing clarity and abstraction while deepening their cinematic atmosphere. To get a sense of what the album has to offer, watch the music video for "Darkroom Aesthetics". Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and mixed and mastered by Magnus Lindberg of Cult of Luna, Oscillation unfolds in vast, immersive soundscapes where fragile melodies drift through reverb-drenched space before building into powerful, cathartic waves of sound. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost Classic black or white 2LP available!

Futurismo are proud to present the iconic 1982 debut album, Only Theatre of Pain, by gothic legends CHRISTIAN DEATH. Available on deluxe 2xLP, CD digipak.

Hailed as a masterpiece of it’s genre, and considered by many as ground zero for Deathrock, Only Theatre of Pain is a seminal work of unholy power and pitch black emotion. Whilst this record may have it’s roots in punk - the origins of this true original version of Christian Death took place in Southern California during the early 80’s hardcore explosion - it cannot be overstated how important this record was in shaping the subsequent landscape. Emerging like an adrenaline shot into the heart of darkness, this unrestrained and mysterious recording still remains unclassifiable.

Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain’s musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz’s vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It’s a performance, but also a truth, perhaps Only Theatre of Pain is an art show, as much as it is an era defining record.
Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on Only Theatre Of Pain is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an eradefining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.

Only Theatre Of Pain is presented here in a new remastered deluxe pressing with a second disk containing early demo’s and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.

This classic LP comes in deluxe super limited edition ‘California Hell’ coloured vinyl and contains a second disk of bonus material. It is packaged in a gloss laminated sleeve with metallic ink, containing printed inner sleeves, a large fold out poster, redux artwork featuring the photography of Edward Colver, and liner notes by Lisa Fancher of Frontier. Also available as CD digipak

20 Jahre nach dem Kultfilm kehrt Der Teufel trägt Prada 2 zurück und läutet eine neue Ära von Mode,
Ehrgeiz und Machtverschiebungen ein. Alte Rivalitäten flammen wieder auf, neue Allianzen entstehen –
und der Laufsteg ist härter umkämpft denn je.
Der offzielle Soundtrack begleitet jede Szene mit einem hochkarätigen Line-up aus Lady Gaga, Doechii,
Dua Lipa, Miley Cyrus, SZA, RAYE, Laufey, Olivia Dean und vielen weiteren Künstler. Die Songs vereinen
Glamour, Attitüde und Neuerfindung und machen den Soundtrack zum perfekten musikalischen Begleiter
eines der Film-Highlights des Jahres.

Red Dwarf Star emerges as a striking new chapter for Coley Taylor of famous US/CH based MASERATI, a new project that captures a deeply personal arc that spans continents, relationships, and creative reinvention. Working largely alone, Taylor embraced a deliberately stripped-down approach, navigating unfamiliar technology with joyously unpolished determination. Much of the material was recorded in a modest, direct manner that prioritizes feeling over finesse. This DIY ethos is balanced by key collaborations that elevate the record's sonic depth. Drums were recorded in Los Angeles by Kellii Scott, whose distinctive style adds weight and clarity, while contributions from Allen Epley and Jenna Fournier introduce subtle vocal textures that expand the emotional range of the songs. Despite its introspective origins, Red Dwarf Star is not intended to remain a solitary endeavor. What began as a personal outlet is evolving into a fully realised band, with a lineup assembled to bring these songs into a more expansive, dynamic setting. This shift signals not only a new phase for the project, but also a broader artistic trajectory. Taylor is known best for his work with Maserati, a legendary outfit that leans into collaborative, rhythm-driven expanses rooted in krautrock and electronic psych. Through Red Dwarf Star Taylor's lineage of influence is felt, echoing the raw emotional immediacy of `90s alternative, post-hardcore, and the textured atmospheres of jagged dream-pop that bleeds. These are sounds that have lingered in Taylor's creative subconscious for decades, now resurfacing with renewed urgency. For fans of MASERATI, FAILURE, SLOWDIVE, QUICKSAND, SHINER, HUM Black or coloured vinyl LP or CD available

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

Not all tropical escapes are meant to soothe. Some are meant to seduce… and unsettle.

On Haunted Bossa Nova, Creepxotica reimagines the language of classic exotica through a darker, more cinematic lens—where swaying rhythms and lush melodies drift through shadows instead of sunlight. This isn’t background music for a carefree afternoon. It’s a late-night transmission from a hidden lounge at the edge of a dream.

Built on the bones of traditional bossa nova and mid-century exotica, the album pulses with nylon-string guitars, vibraphone shimmer, and hypnotic percussion—but everything feels just slightly off-center, like a memory slipping out of reach. There’s a tension beneath the beauty, a sense that something unseen is moving just beyond the music. Each track unfolds like a scene, contributing to a larger atmosphere that’s immersive, cohesive, and quietly haunting.

What sets Haunted Bossa Nova apart is its intention. This is not nostalgia for nostalgia’s sake—it’s a deliberate evolution. Creepxotica honors the lineage of the genre while pushing it into more mysterious territory, blending tropical warmth with ambient unease and cinematic depth. The result feels less like a throwback and more like a lost soundtrack—discovered, not created.

Sonically rich and meticulously arranged, the album invites deep listening. Every tone, every pause, every echo has purpose. It’s exotica for those who crave mood over kitsch, atmosphere over imitation.

For listeners drawn to the edges of jazz, lounge, and ambient soundscapes, Haunted Bossa Nova offers something rare: a fully realized world that lingers long after the final note fades.

"Stare Away, the solo project of New York City-based musician Ben Nelson, deals in music where atmosphere isn't decorative — it's load-bearing. In Absence, his seven-song debut EP on à La Carte Records, is built on brooding, synth-driven arrangements and melodies that linger well past their welcome. Rooted in the emotional vocabulary of post-punk and new wave without feeling like a nostalgia exercise, the record carries the shadowed grandeur of The Chameleons into firmly present-tense territory.

From the urgent propulsion of ""Parting Ways"" to the cinematic sweep of ""Familiar,"" In Absence moves between moods with deliberate precision — restless, melancholic, and impossible to shake.

With Tarabesque, his powerful new album, Firas Zreik delivers his boldest and most visionary work to date. Fearlessly placing the kanun—the shimmering Mediterranean harp—at the center of a jazz quartet, a hybrid ensemble, and an Arab Takht ensemble, Zreik reimagines the instrument as both a rhythmic engine and melodic force. He builds a world of Maqam-driven melodies woven through rich harmonic and modal landscapes that feel fresh, organic, and defiantly new.

Based in New York City, Zreik is a Palestinian composer and kanunist who recently received Grammy recognition as a songwriter and performer on Residente's award-winning album Las Letras Ya No Importan, and composed The Art of Kanun, a film music album commissioned by Universal Music Production France. He is an official showcase artist at WOMEX 2022, a MacDowell Fellow, and has performed at Lincoln Center, Joe's Pub, and The Jazz Gallery.

With Tarabesque, Zreik signals the emergence of a new musical language—merging Tarab, the ecstatic listening state central to Arab musical traditions, with global influences to create a sound timeless, urgent, and entirely his own.

Feel the poison in your veins… “The Venom In The Mouth Of God” is Combichrist at their most expansive and most honest, a record that tears open the gap between who we are and who we perform ourselves to be, and leaves it bleeding. Andy LaPlegua has been one of industrial metal's defining forces since the early 2000s, fusing EBM brutality with hard rock muscle in a way few acts have managed to replicate. This new album plays like a descent and a reckoning in one. The opening run from "ODR" through "Born Deströyer" lands like a controlled demolition: dense, mechanized, merciless. Mid-album the mood shifts and stretches, with "Each Scar A Vision" and "The Way We Want To Be Seen" pulling at something more psychological - the masks we wear, the versions of ourselves we construct for others. "Demons Wanna Be Summoned" features King 810, the Michigan-bred rap-metal outfit known for their confrontational intensity - a collaboration that fits the album's relentless atmosphere like a blade in a wound.

Feel the poison in your veins… “The Venom In The Mouth Of God” is Combichrist at their most expansive and most honest, a record that tears open the gap between who we are and who we perform ourselves to be, and leaves it bleeding. Andy LaPlegua has been one of industrial metal's defining forces since the early 2000s, fusing EBM brutality with hard rock muscle in a way few acts have managed to replicate. This new album plays like a descent and a reckoning in one. The opening run from "ODR" through "Born Deströyer" lands like a controlled demolition: dense, mechanized, merciless. Mid-album the mood shifts and stretches, with "Each Scar A Vision" and "The Way We Want To Be Seen" pulling at something more psychological - the masks we wear, the versions of ourselves we construct for others. "Demons Wanna Be Summoned" features King 810, the Michigan-bred rap-metal outfit known for their confrontational intensity - a collaboration that fits the album's relentless atmosphere like a blade in a wound.

To mark its 10th Anniversary,
discover Awa Ly's Album "Five And A Feather" (Including one previously unreleased track) On Vinyl For The First Time !

One night, Awa had a dream.

The atmosphere was enchanted, almost mystical, enveloped in a setting that summoned the moon, the Earth, and the elements. An ancestral blend of Native American and African cultures, a shamanic being was there, speaking in an unknown language, narrating stories both real and imagined. She received these tales from others, made them her own, absorbed them, shared their joy, and soothed their harbored pain or sadness.

Upon waking, the shamanic narrator had vanished, but her presence was still palpable; Awa made her the storyteller of this new album: Five and a Feather.

Five, like all things counted by fives: the senses, the oceans, the lines of a musical staff, the fingers on a hand. And feather, the magical element that connects them-the very one Awa used to write and compose the ten tracks of this new album where, under the brush of SainaSix, she becomes the first Black woman immortalized in Mucha's Art Nouveau aesthetic.

Ballaké Sissoko's kora, Paco Sery's senza, Greg Cohen's double bass, Faada Freddy's vocals, the steel guitar, or the erhu (Chinese violin) are all elements that illuminate the shamanic storyteller's tales.

Produced alongside the duo Jean Lamoot and Pascal Danae (winners of the 2015 Victoires de la Musique in the World Music category with their band Rivière Noire), Five and a Feather faithfully captures the warm atmosphere of live-recorded sessions where instruments answer and interlock with one another, creating the perfect showcase for the album's principal instrument: Awa's voice.
Words that she delicately places or lets fall onto the notes like tears of joy or sadness, flowing from that source called love.

An album written, composed, and recorded like fine lace, starry with details that only reveal themselves to those who know how to seek them out.

Yup, he’s finally done it. Afters years of releasing some of your favorite DJ’s dance floor ammo, Sweater has started his own label. The inaugural release on Sauna Records is produced by the new label boss himself and features 4 tracks he’s held close to the chest for a bit of time now while testing dance floors, tweaking arrangements, and getting these baselines just right to ensure a hot & steamy dance floor experience.

The A1 “Chemical Reactions” races out of the starting line with a swampy bassline peak time heater full of classic rave sounds contrasted by Sweater’s signature lush pad and lead work creating a mad chemist’s auditory dream. A2’s “Yaoguai” bubbles with a thoughtful and playful bounce over an ear-worm bassline. B1’s “On & On & On” is the proggy tech piece of kit you didn’t know you needed to ensure “that” moment in a set. B2’s “One Chord” lands the EP in a calmer manner, acting as a production experiment to see if Sweater could keep you interested with one chord playing in the background the entire track. The result is an introspective, eyes closed, thoughtful bop.

We hope you enjoy Sauna Records first offering and use this record for the physical and mental detoxification through sweat therapy on a dance floor near you.

Summer doesn't announce itself. It creeps in through cracked windows and lingers on skin long after the sun sets. It asks nothing of you but surrender. The South London DJ and producer, born Wilf Auty, raised in the fields of Devon before migrating to the city's sprawl, has crafted four tracks that move like heat haze off tarmac: shimmering, hypnotic, impossible to rush. This is house music stripped of its impatience. Rolling rhythms push forward with the inevitability of tide. Driving basslines push through the mix like warm air through an open car window. Something that feels like the longest day of the year. That moment when you realise the light's been golden for hours and nobody's checked the time. Wigs' sets at Meanwhile have become the stuff of whispered recommendation: progressive, modern, emotionally intelligent selections that build through patience rather than force. This EP is the studio distillation of that philosophy. Four tracks. No filler. Each one: unfurling. The reward comes for those who wait. The groove reveals itself in layers. The pulse becomes a feeling you can't quite name but recognise immediately, that elastic stretch of a summer evening when time loses its edges.

The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.

Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.

This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.

Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.

Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.

Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.

Any questions about any of these products feel free to get in touch and we'll help you out!

a a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]

born (literally) in fire, soma flared briefly as the alchemical pairing of two unique and dynamic musicians. david thrussell and pieter bourke met through mutual friends in the artistic melting-pot of early 1990s elwood, melbourne, australia. bourke was an integral member of the gothically ambient eden, thrussell frontman of anarchic industrial combo snog. both admired each others work, and though some considered them an unlikely combination, something rather potent was brewing which drew them inexorably together.

initially bourke joined snog live and then in the studio, contributing mightily to their epic second album ‘dear valued customer’. as a natural result of their friendship and muse, thrussell and bourke instituted their own project, soma, to explore the intersections of arcane and mysterious technologies. the first soma album “hollow earth” was released to acclaim.

soon after, thrussell was awoken by a 3am knock on his door. bourke was now homeless - the result of a devastating fire that had just torn through his apartment and studio - and he needed somewhere to sleep. this is when work on ‘the inner cinema’ began, with bourke and thrussell ensconced in the same dwelling, able to write and record around the clock (often only leaving to plan the next session while dining at local vegan eateries).

at the time thrussell was obsessed by the testosterone bravado and haunting alienation of ‘spaghetti-western’ theme songs, while bourke brought his love of all things percussive and the other-worldly atmospherics of arvo pärt (with the outer-space dub of king tubby) to the mix. together, on a diet of blood-plum sago, fortean times and lingering smoke fumes, they concocted their dadaist brew.

magical and unforgettable, ‘the inner cinema’ stands apart and outside of the musical mainstream. since its 1996 release the album has developed a mythical reputation and is spoken of in hushed and adulating tones among acolytes of atmospheric and electronic music. you hold in your hands a lovingly remastered deluxe reissue of this sonorous gem.

time marches on, and after a few more sporadic soma recordings bourke and thrussell moved on to other pastures. bourke would work with dead can dance, lisa gerrard and hollywood auteur michael mann, as thrussell toured regularly with snog and black lung, cut some interesting soundtracks and birthed the idiosyncratic omni recording corporation.

expelled from its fiery crucible, this dark jewel of sound, this soundtrack of the mind, has lain in the soft earth awaiting rediscovery. fluid metabolic rhythms and breathy washes of timeless melancholy pulsing, inviting, in the warm soil. now is your chance.

'As I Slip Into the Sky reflects a particularly small sliver of time compared to Where the Smoke Goes, with recordings taking place in early 2025, while Johnny was bed-bound in an assisted living facility with multiple sclerosis. Alabama born, Portland based artist Joel Nelson helms the nearly entirely electronic backdrop, posing a new canvas for Johnny, with Buchla Music Easel bubbling up between Johnny’s lines. This album captures Johnny in a remarkably tender and emotive form. Love and all its permutations. The tangled, but caring nature of familial love, (“But you and me, we can talk on the phone every day. I would never leave you behind”), to the anguish and euphoria of romantic connection. Johnny has a remarkable ability to pose questions, ("What is real love like?), and provide answers that reflect the truest of realities, absent cliche ("I don't know. His curly hair, short on his head, his smile, his smile, his smile...that is what real love is like").
'Joel Nelson's nimble work across a small array of analog synthesizers creates a flowing backdrop to Johnny's stream of consciousness. At times, Broadcast's fuzzed out ballads come to mind, while at others, early Oneohtrix Point Never's gauzy, distant drones anchor beneath Johnny's slippery syntax.
'Johnny recorded his poems while confined to a hospital bed, through an iPhone laid gently on his chest. Assisted by the caring presence of friends John Albea and Lauren Jones, we can hear through these recordings Johnny immersed in his world of words, taking in the world of sounds Joel had provided for him. We hear his breath, at times we hear the harsh sibilance captured by the iPhone microphone, but more than anything, we hear the tenderness and poetic resolve of his caring soul. He was incredibly grateful for the past years of connecting with the small cohort of Birmingham-affiliated musicians and artists who upheld him as the unofficial poet laureate of "The Magic City", Birmingham, AL. Perhaps most appropriately, Johnny closes the album out in a state of gratitude:'

"My funeral was perfect
I was buried wearing a very charming jacket
A very charming jacket I just happened to have on when i died
He was always the lucky one, Mary-Ellen said
I've been looking for a nice casual jacket like that I could wear to casual little outdoor parties and to my funeral all my life
But Johnny just had one
Probably someone left it in his car
He was so lucky
It doesn't even make sense
But its true
He really was that lucky"

'Under the name The 4th Street Orchestra, Dennis Bovell released a series of limited-edition albums in the mid-70s specifically for the UK sound system scene. Yuh Learn! stands as a prime example of Bovell’s creativity and production prowess. With its strong Jamaican Roots appeal, it is a record cherished by sound system selectors, capable of taking every listener on a deep journey through the many shades of dub.
'The album features two of Real Rock Records’ favorite tracks. First, the instrumental The Grunwick Affair, recorded in solidarity with the striking workers of the Grunwick Film Processing Laboratories in Willesden. This historic industrial dispute paved the way for the socio-political shifts of the late 70s and remains a landmark in British labor history. The track was even hailed by Time Out as one of the top 100 songs about London. The horn section features also the legendary Rico Rodriguez, Michael ‘Bammy’ Rose, and Eddie Thornton on trumpet. Also included is the classic sound system anthem Rowing Down The River.
'Presented here in an extended version, Bovell’s vocals ride the rhythm perfectly until a heavyweight dub version takes over. The musicians performing as “The 4th Street Orchestra” deserve special mention. The lineup includes drummer Jah Bunny, a foundation musician who played on crucial albums with Bovell and the late Jah Shaka, and John Kpiaye, a leading figure in the British reggae scene and “Lovers Rock” producer. Kpiaye has collaborated with Dennis Brown, Aswad, and I Jahman Levi, and serves as the resident guitarist for the Dennis Bovell Dub Band backing Linton Kwesi Johnson.The late Eddie “Tan Tan” Thornton on trumpet, an Alpha Boys School alumnus and legendary session man also for The Beatles and Jimi Hendrix, brings his expertise to the project, having also contributed to masterpieces like Rico Rodriguez’s Man From Wareika.
This is a limited-edition, vinyl-only first reissue of one of the rarest and most sought-after albums from Dennis Bovell’s legendary catalog.'

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory.

Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it.

Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.
The 16-member ensemble is led by double bassist and composer Ozzy, with a distinctive line-up that explains their sound better than any artificial genre divisions: two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, mandolin, congas, piano, drum kit, with bells, shakers and other percussion instruments scattered on the floor of live sets and recording sessions, ready for members to use whenever the spirit takes them.

This orchestration, and the overlap between membership and friendship, gives Ancient Infinity Orchestra a sound that is at once expansive and intimate, earthy, and cosmic, constantly shifting yet grounded in shared intention. The attention to intention and the inviting sonic world connects the music to artists ranging from Alabaster dePlume to Gondwana label boss Matthew Halsall.
Gradually, the Orchestra became a grounding force in the emerging jazz scene in Leeds, bringing together individuals from different musical backgrounds co-founding the Café Oto-inspired Limpet Club or co-hosting the monthly Sonic Plunge (‘a platform for adventurous experimentation’) and co-founding the Leeds Improvisers Orchestra. Additionally, the ensemble acted as a bridge between musicians in Brighton and Leeds, after Ozzy spent a stint back on the south coast between 2020 and 2022.

Their debut, River of Light, was a vibrant celebration of togetherness recorded in three days and released on Gondwana in 2023. A Maida Vale session for Jamie Cullum’s BBC Radio 2 show brought them to a broader audience, as did bookings at North Sea Jazz Festival and Gretchen, Berlin. Since then, Ancient Infinity Orchestra has become a by-word for music that could be framed as ‘spiritual jazz’. Whilst Ozzy avoids the phrase when describing his music, he’s crystal clear that his heroes are associated with those words – citing Art Ensemble of Chicago, Pharoah Saunders, Coltrane (Alice and John), and Don Cherry as major influences.

Across trance-like meditations, rising grooves, moments of grief and collective uplift, It’s Always About Liberation speaks to the battle within the mind as much as the inequalities of the wider world. It acknowledges the darkness but lets connection and creativity have the last word Ancient Infinity Orchestra is a gathering of voices, traditions, and energies converging into something timeless. Their music is a journey inward and outward, always reaching toward the universal.

Girls is Princess Nokia at her most fully realized, a bold celebration of femininity in all its power, vulnerability, and duality Blending hip-hop and dreamy pop textures, the album moves between confession and high-gloss attitude, anchored by standout singles "Drop Dead Gorgeous," "Medusa," and "Blue Velvet," each capturing a different facet of her sonic and emotional range.

2026 Repress

Kerouac presents a captivating five-track vinyl-only EP on Murmurations, showcasing groove-rich basslines, intricate percussion and deep rhythmic textures into a dancefloor-ready package. The A-side kicks off with "Gravity", a hypnotic excursion of looping stabs and rolling percussion, before sliding into "Active Meditation", a deep, driving cut built on smooth stabs and an elastic bassline. The flip opens with "Official Line", a tumbling low-end roller with layered vocal chops and crisp percussion. "Chugs" lives up to its name, a relentless groove packed with vocal hooks and a thick, chugging bass. Finally, "Too Sea Bee" winds things down with warm chord progressions and a funky, laid-back vibe that leaves a lasting glow.

Eyes Open (20 Year Anniversary Special Edition 2LP Gold Vinyl)
Eine Deluxe-Edition zum 20-jährigen Jubiläum von Snow Patrols epochalen Album „Eyes Open“, gepresst
auf exklusivem goldenem Vinyl. Das Album, das ursprünglich das erfolgreichste Album Großbritanniens im
Jahr 2006 war und mit 8-fach Platin ausgezeichnet wurde, enthält neben dem
Kult-Hit „Chasing Cars“ fünf weitere Hit-Singles. Diese erweiterte 2LP-Edition enthält alle 7 B-Seiten aus
dieser Zeit sowie den eigenständigen Hit „Signal Fire“, seltene Fan-Favoriten und die Rarität „Perfect Little
Secret“. Abgerundet wird das Ganze durch neue Liner Notes von Gary Lightbody.

For the first time ever on vinyl Four new instrumental tracks, produced, recorded, composed & played by Dam-Funk. Pitchfork described “Free” the EP closer “… distills his daily inspirational thoughts into a breezy, sun-kissed glow, delivered with his usual cool sincerity. Of course, the style is purely West Coast, but the message is universal: funk is freedom. And in Dâm's world, funk is the future.”

The music of La lucha es un poema colectivo was conceived and composed during a long artistic residency at IRCAM in Paris in November 2023 and will be released by Superpang. ‘In November 2023, we were in residence in Paris when we found ourselves in the midst of protests and strikes by workers at the Centre Georges Pompidou. They were demanding the respect of their rights. Entering that place as outsiders, making art while hundreds of people outside risked losing their jobs, was disorienting.

This is the starting point for the title of this album, evocative yet at the same time tangible. A phrase, as often happens, borrowed from those who had, in turn, borrowed it before us, words that are not and
cannot be only ours. Words too heavy to be slaves to context or syntax, yet words that resonate within us, move us, and open rifts in our history as a group. A strange plunge, strange despite the fact that the premises were clear from the start, with well-defined lines of a unified design. And if we ask ourselves, looking around, not so much what but rather with whom we would like to share it, we imagine the music of this album within that groove, in that intangible bond that unites a collective of people who, upon reading this sentence written on a wall, in a street, pause for a moment, slow down, rest their gaze, and know they are still alive.”

Shakedown’s anthemic 'At Night' has been a firm fixture in record bags since it first landed, built around that unmistakable, hypnotic vocal hook and a groove that's kept dancefloors moving for years.

It's one of those rare tracks that transcends eras — equally at home in a peak-time festival set as it is in a late-night basement club — and its staying power has made it a go-to reference point for DJs and producers alike.

Freshly reissued now compiling some of its biggest remixes , original and the sought after accappella. Purple Disco Machine brings his signature disco-house sheen and radio-friendly polish to the original's DNA. Peggy Gou then flips it entirely on its head with her "Acid Journey" remix, injecting squelchy 303 acid lines and a more raw, hypnotic energy that nods to house music's warehouse roots. Kid Crème's Club Mix sits somewhere in between — a tool-friendly, dancefloor-focused reworking built for maximum impact in a DJ set. Rounding out the package are the Original mix, for those who want the source material in all its untouched glory, and an Accapella, giving DJs and producers the vocal stems to mash up, edit, or sample as they see fit.

For the decennial release on Punctuality Warsaw duo W.A.C., aka Private Press step up with their Forever W.A.C EP. Moving away from their more techno-oriented offerings, Forever W.A.C. keeps the tempo and energy of their earlier work but suffuses the mood with warm, glowing trance and prog energy. This is peak-time Punctuality business in its purest form– on time as ever. “No More No Show” comes in hot from the get-go: galloping snare rolls, raved-up breakbeats, uplifting pads, big basslines, acid licks, and the low-end wubs that have become synonymous with the Punctuality sound. One for that point in the night when the dancefloor has melted into sweaty, eyes-closed, hands-up amorphia.

Barely recognisable to its original counterpart, the Rhyw remix strips the A1 down to the bare essentials. Preserving only a few percussive elements, the euphoria of No More No Show is replaced with hazy, cinematic synth washes that drone around a skeletal groove loaded with bassweight, warping the original into a dubbed out psychedelic UK stepper. Shifting to the morning light, “Only Froggerz” is a shimmering roller that ebbs and flows around barreling kick drums, kaleidoscopic synth lines, and vaporous FX, with lustrous chord work driving the emotion dial to 11. Elegant and restrained but relentlessly pummeling, it’s early-morning club gear at its finest.

Rounding out the EP with an essential slice of modern prog, “Close” utilises all the good bits: skippy basslines, filtered squelches, tribal-leaning percussion, and a relentless groove that builds around the subtle interplay between the stabs and the vocals. An epic closer that feels as true to the Punctuality canon as ever.

Bit of this, bit of that. 4 cuts of everything groove and swing.

Repress of the 13th chapter of this highly acclaimed compilation series, originally released in 2017.

As usual FSOJ is compiled by Compost head honcho Michael Reinboth with a solid sense of leftfield tracks, punchy floorfillers, ghostly, cinematic, balearic, frazzled, bitter-sweet or mind-shaking hybrid tunes.
Several magazines voted FSOJ as the one of the best compilation series of all time. With this series starting 1995 the term Future Jazz became a genre landmark.

FSOJ 13 including some exclusives, sought-after tracks and previously unreleased tracks. Some highlights are: First of all the Van Hai track in a Ripperton remix is a perfect opener into a tranquil music venture. A sheer bliss tune. Montezumas Rache „Wu Du Wu“, which was only released on vinyl before - still difficult to find the original 12“ - is a freaky outstanding funk hybrid. Karim Sahraoui – with a punchy Detroit-ish track, picked up from Derrick May’s Transmat label - is currently in the works with a follow up 12“ later in 2017 on Compost. Acid Pauli delivers a brand new dubby balearic remix, which he recently did for Matanza, a live band from Chile. Peter Kruder came up with something special exclusive, a warm breath in the open air tune, which drives listeners into a chilled wormhole. Beside new names, bigger names like Axel Boman, Tony Allen with a Ricardo Villalobos & Max Loderbauer remix, you’ll find more lefties tracks from respected labels like Studio Barnhus, Innervisions, Lovemonk, Transmat, Mule, Tru Thoughts, Rebirth, Ninja Tune and m.o. next to other exclusive deliveries by Manuel Tur, Marsmobil, coupled up with semi exclusives: the first time on vinyl or digital.

Ras Michael's Dadawah. The Singing Drummer, a devout Rastafarian musician. Dadawah brought Ras Michael together with veteran studio hands: bassist Lloyd Parks, drummer Paul Williams, guitarist Willie Lindo, and last but not least pianist/organist Lloyd Charmers, who also produced.

The resulting album Peace & Love is a work of faith. Although not a concept album in the strict sense of the term, it thematically evokes the Biblical final days. "Run Come Rally" calls together the world's righteous in preparation for the upcoming battle with evil. Having gathered together the brethren from "Seventy Two Nations," all bow before Jah in a celebration of His greatness, then give voice to their desire to return to "Zion Land." The set concludes with "Know How You Stand"'s call for freedom, and with it the ability to fulfill Jah's plan.

The extraordinary power of the set's themes is echoed by the equally phenomenal backings, all conjuring up the most haunting of atmospheres. While the hand drums give the album a grounation feel, Parks and Williams simultaneously ground the numbers deep in roots. Intriguingly, though, there's no reggae guitar, just Lindo's sublime riffs and licks that flick into the rock realm, while constantly sliding back into blues. Charmers' piano and organ occasionally take over the reggae guitar role, but mostly his keys intertwine around Lindo's leads, accentuating melodies, scattering elegant flourishes here and there, and subtly building up the atmospheres. Charmers' production is superb, the musicians inspired, and Ras Michael's power undeniable. An astounding album that's lost none of its potency over the years.

This 45 reissues two Spanish classics-DJ'd, sung, and danced to exhaustion-featuring striking arrangements and rhythms inspired by soul, funk, and rock, pushing flamenco-influenced popular music into previously uncharted territory. The flamenco rock of 'Orgullo' (1974) by Las Grecas will appeal to international listeners already captivated by the Anatolian sound of Baris, Manço, Mogollar_ On the B-side, Paco, Paco, Paco' (1969) by Encarnita Polo is a soul-pop hit with an irresistible syncopated rhythm and killer bass lines. In the final years of Franco's dictatorship, when Spain's popular music was kept on the sidelines of avant-garde and countercultural trends, a number of records emerged that dared to bend and hybridize the country's so-called "national" musical genres (calling it flamenco outright would be imprecise) and infuse them with a dose of modernity. The first 20 seconds of 'Orgullo' (1974) hit with a powerful sonic punch built on ferocious fuzzed-out guitars, distorted keyboards, and thunderous drums that could easily belong in the discography of Led Zeppelin, The Guess Who, or Cream_ until, suddenly, Las Grecas start to sing and Flamenco rock is born. It will undoubtedly resonate with international audiences already drawn to the Anatolian sounds of Bar?? Manço or Mogollar. A few years earlier, in 1969, the brilliant Argentine producer and arranger Adolfo Waitzman had already transformed a harmless light pop tune recorded by a yeyé girl, Encarnita Polo, into a soul-pop hit driven by an irresistible syncopated groove and killer bass lines. The playful 'Paco, Paco, Paco' became a bestselling single in Spain and, more than 50 years later, is still celebrated as a brilliant example of the romance between flamenco-inflected sounds and soul-pop. First-ever single reissue.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Limited red vinyl repress of the 2011 album 'Necropolis Transparent' from grindcore 'supergroup' Lock Up. Featuring the line-up of Shane Embury (Napalm Death, Brujeria), Nick Barker (Cradle of Filth, Dimmu Borgir), Tomas Lindberg (At The Gates) and Anton Reisenegger (Pentagram).

The Unsung Adventures of Punch Brothers is a highly strategic, physical-format priority scheduled for release on July 24, 2026, via Nonesuch Records. This document has been professionally designed to serve as an in-store info sheet to justify why this title demands a prominent listing and prime shelf space in your store. Core Commercial Arguments For Your Inventory:High Physical Media Affinity: Punch Brothers possess an exceptionally loyal, audiophile-leaning fanbase that heavily prioritizes purchasing physical LPs and CDs rather than relying solely on streaming platforms. Grammy-Winning Prestige & New Lineup Buzz: As previous winners of the Grammy for Best Folk Album (for All Ashore), this release marks a monumental shift—their first-ever all-instrumental record and the studio debut of acclaimed fiddle virtuoso Brittany Haas. It serves as a natural conversation starter for acoustic, classical, and bluegrass buyers. Massive 28-City Tour Traffic: The band's largest tour since 2019 spans from summer into late autumn 2026, targeting iconic institutions like Carnegie Hall (NYC), major folk festivals, and regional hubs. Local tour stops are critical touchpoints to align with your regional endcaps and point-of-sale displays. Premium Production Appeal: Engineered by recent Grammy-winner Joseph Lorge (Guilford Sound Studio), the pristine sonics will make this a staple for high-fidelity test spins and vinyl showcase walls.

Songs, interpretiert von Memphis Slim, Sonny Boy Williamson, Big Bill Broonzy und anderen. Als United Artists 1959 ,Blues in the Mississippi Night" endlich veröffentlichte - nachdem man das Album jahrelang als ,zu kontrovers" eingestuft hatte -, erhielten die mitwirkenden Künstler Pseudonyme, um ihre Familien zu schützen. Das war der Preis dafür, dass sie die brutale, ungeschönte Wahrheit aussprachen. Heute wissen wir, dass ,Natchez, Sib & Leroy" die legendären Bluesmusiker Big Bill Broonzy, Memphis Slim und Sonny Boy Williamson waren. 1947 nahm Alan Lomax die drei Giganten mit einem Presto-Disc-Aufnahmegerät in den Decca Studios in New York City auf, nachdem sie im Rahmen seiner ,Midnight Special"-Konzertreihe in der nahegelegenen Town Hall aufgetreten waren. Lomax bat sie, ein paar Songs zu spielen und über ,den Blues" zu sprechen, und ermutigte sie, offen über die Ungerechtigkeiten des Lebens der Schwarzen in Amerika zu reden. Das Ergebnis war ,Blues in the Mississippi Night", eine bahnbrechende Aufnahme ihrer Songs und Geschichten, die die Ursprünge der Musik in Blut, Schweiß und Tränen der Afroamerikaner aufzeigt, die im Mississippi-Delta unter den Ausbeutungsbedingungen der Jim-Crow-Gesetze lebten. Einfach gesagt: Die Aufnahmen sind atemberaubend in ihrer brutalen Ehrlichkeit und ihrer fesselnden Meisterschaft. Heute hat das Lomax-Archiv die Originalbänder dieser historischen Aufnahme digital remastert, um sie zum ersten Mal seit 1959 wieder auf Vinyl zu veröffentlichen. Im Paket enthalten ist ein 20-seitiges Deluxe-Booklet mit einer vollständigen Transkription der gesamten Aufnahme sowie brandneuen Liner Notes von Anna Lomax Wood und einer Einleitung des renommierten Schlagzeugers und Produzenten Steve Jordan (Rolling Stones, John Mayer). ,Ich fordere jeden, der das Leben und die Wahrheit liebt, auf, sich diese Aufnahme anzuhören", sagt Jordan. Wenn man sich die Texte und die Musik darin anhört, wird das schnell klar. Dies ist eine unverzichtbare Aufnahme - ein Eckpfeiler in der Plattensammlung jedes Blues-Fans und ein unbestreitbarer Teil der amerikanischen Geschichte.

2026 Repress

For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns' brother John Burns lent a hand to some lyrics and songwriting, and the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

Zur Feier des Jubiläums wird ”Under The Iron Sea” als 1LP Zoetrope und 3CD Deluxe Edition erhältlich
sein. Die Deluxe Edition enthält das Abbey Road Half Speed Mastered Originalalbum sowie Bonusmaterial, darunter unveröffentlichtes Material, Live-Aufnahmen, Akustikversionen, Remixe, BBC-Auftritte, neue
Liner Notes und bisher unveröffentlichte Fotos.

John Hassall (The Libertines) & The April Rainers release their long overdue second, self- titled album. It's is the followup to 2017's Wheels to Idyll, which picked up critical applause on its release. The new album was largely recorded at John's home studio in Aarhus, Denmark where he has been living since 2009. And was produced by the band, with string player Clementine Brown having a big influence on the sound. John Hassall "These 10 songs are the ones that survived, grew and took on a life of their own. There's no way of telling if a song will make it until the end. That Pale Lantern in my opinion, started off as a rank outsider and then turned into one of the strongest songs on the album. Lessons were learnt from Wheels to Idyll and a new musical development runs through it. Whereas the last album was recorded pretty much live. The new album maintains similar classic songwriting and pop sensibilities, though with more complex arrangements and production." Most of the songs were cowritten by John and longtime poet collaborator Steev Burgess exploring memories of school days, journeys and adventures, fading dreams, ancient empires and even somebody's trinket collection. Burgess who has known Hassall for many years, wrote the lyrics to lead single Miracles, a sort of Ballad of John and Line. Libertines band mate Peter Doherty is also involved with a co-writing credit on Doing Time. John Hassall and The April Rainers will be announcing UK shows shortly, in the meantime John will be appearing with his other band The Libertines at summer festivals across Europe and the UK.

A real cult favorite of the American psychedelic underground, Three blends hypnotic guitars, immersive atmospheres, and deeply melodic songwriting into a rich, transportive listening experience. Drawing from neo-psychedelia, space rock, and dream pop traditions, the album has become a sought-after modern psych classic with enduring appeal among collectors and fans of expansive, guitar-driven music. Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neopsychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences, offering excellent long-term catalogue value for retailers and distributors alike. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.