Search:k pi

2025 Repress

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

Expansive and ambitious, Tender Revolutions is the latest from Vietnam-born, Portland, Oregon-based multimedia artist Dao Strom. A fluid album, existing between genres—part ambient folk, part sound collage, part spoken word, part post rock—it blurs the line between the work of an experimental composer and the work of an accomplished singer-songwriter. Instruments slip in and out (guitar, piano, synthesizer, strings, drums, percussion) amid field recordings and samples, all anchored by Strom’s singular voice.

The songs of Tender Revolutions reflect on and embody themes of “yellow subjectivities”—the Asian body as perceived; the Asian feminine body as reflection/catalyst/consort—offering their own forms of response to troubling representations of Asian women in popular media in the West. A “re-voicing” of the problematic hit song “China Girl” by David Bowie re-inhabits this song from a discomfiting silence at its center, and serves as a fulcrum point in the album’s sequencing. Other songs utilize voice as both texture and lyric-driven telling to deepen angles of interiority and thematics of voice/silence.

While Tender Revolutions stands alone as its own whole, it also exists as part of a larger multifaceted project, drawing from a four-part song-cycle (Nhạc Vàng 1-4) and accompanying a series of hybrid-genre literary chapbooks (Yellow Songs 1-4). Released in collaboration with The 3rd Thing, an interdisciplinary publisher in Olympia.



[a] tender variation i [what is tender?]
[b] tender variation ii [when was the first time u felt loved?]
[c] tender variation iii [associations of yellow]
[d] tender variation iv [love object treason]




[i] [hailing tender]

Brooklyn-based artists Leslie Graves and Toby Goodshank have joined creative forces on their album Between Worlds (BB*ISLAND), Toby Goodshank (The Moldy Peaches, The Pizza Underground) of the OG New York Antifolk scene, is known for his precise and acrobatic vocals over nuanced acoustic guitar in songs that have been described as "a zesty thumb of the nose at domesticated bullshit." (Myles Manley) Leslie Graves (GOLD, Endless Arrows) is a performing songwriter and recording artist who takes folk subgenres into evocative and intriguing directions, including "sounding like something you could hear Donna Hayward dancing to at the Bang Bang Bar." (Ronan Conroy, "Hidden In the Days" album review) Her voice has been described as "darkwave-meets-folk" with comparisons to Lana Del Rey, Cat Powers, Mazzy Star and Julee Cruise. Acoustic guitar and vocal harmonies make up the core of their music. a slightly psychedelic, at times dream pop-like folkrock. It just draws from a variety of folk and rock. You might hear hints of Sybil Baer, Judee Sill, REM, Linda Perhacs, and Jessica Pratt, but the intersection of Toby and Leslie is truly a place of its own, warm and enchanting, or perhaps a glimmer from the spaces in between worlds. Many instrumental threads are interwoven throughout with the invaluable skills of Jake Nicoll (The Burning Hell) who lovingly engineered and embellished the recordings. Ariel Sharrat of The Burning Hell assisted him and is also featured on saxophone or bass or on some songs here. Speaking to their process, Leslie writes, "Toby is great at composing song structures quickly. It was fun to feel into the emotion of the chords and write from there. The process was like chiseling away at a stone to reveal the sculpture underneath. I like when songs come like that - when it feels that they are teaching us as they are revealed."

Gothenburg/Malmö-based post rock power trio Barrens return with Corpse Lights, the band's second full-length release following their critically-acclaimed 2020 debut Penumbra. Five years in the making, Corpse Lights sees Barrens strike a breathtaking balance between light and dark, beauty and brutality. Corpse Lights, Barrens' sophomore album, is somehow deeper, richer and headier; imbued with an alluring compositional patience that serves as unspoken testament to the combined creativity of the trio in their element, as something so much greater than the sum of its parts. Recorded and produced by Kristofer Jönson, who also helmed Penumbra, and mixed and mastered once again by Cult of Luna's Magnus Lindberg, shimmering synthesizers and sprawling guitars lead the charge propelled by exhilarating drums and percussion but Corpse Lights also finds Barrens using space, silence and atmosphere as another instrument if not as another band member entirely. `Corpse Lights' is the name given to the folk belief that small coloured lights often appear near the home of someone about to die, leading them along the path to their eventual resting place. Often considered to be evidence of the soul leaving the body, the concept of corpse lights embodies Barrens' approach to creating music as a cathartic release; not just writing music because they want to but because they have to. Their writing process is one of joy, light and release as much as it is dark, heavy and tense. The result is Corpse Lights, a collection of nine pieces that guide us through five tumultuous years of highs and lows, of loves and losses and victories and defeats without ever needing to say a word. FOR FANS OF Mono, PG.LOST, Caspian, Mogwai, This Will Destroy You, Russian Circles, Pelican, Scraps Of Tape, God Is An Astronaut. Vinyl is a gatefold, the sleeve comes with metalic ink

Gothenburg/Malmö-based post rock power trio Barrens return with Corpse Lights, the band's second full-length release following their critically-acclaimed 2020 debut Penumbra. Five years in the making, Corpse Lights sees Barrens strike a breathtaking balance between light and dark, beauty and brutality. Corpse Lights, Barrens' sophomore album, is somehow deeper, richer and headier; imbued with an alluring compositional patience that serves as unspoken testament to the combined creativity of the trio in their element, as something so much greater than the sum of its parts. Recorded and produced by Kristofer Jönson, who also helmed Penumbra, and mixed and mastered once again by Cult of Luna's Magnus Lindberg, shimmering synthesizers and sprawling guitars lead the charge propelled by exhilarating drums and percussion but Corpse Lights also finds Barrens using space, silence and atmosphere as another instrument if not as another band member entirely. `Corpse Lights' is the name given to the folk belief that small coloured lights often appear near the home of someone about to die, leading them along the path to their eventual resting place. Often considered to be evidence of the soul leaving the body, the concept of corpse lights embodies Barrens' approach to creating music as a cathartic release; not just writing music because they want to but because they have to. Their writing process is one of joy, light and release as much as it is dark, heavy and tense. The result is Corpse Lights, a collection of nine pieces that guide us through five tumultuous years of highs and lows, of loves and losses and victories and defeats without ever needing to say a word. FOR FANS OF Mono, PG.LOST, Caspian, Mogwai, This Will Destroy You, Russian Circles, Pelican, Scraps Of Tape, God Is An Astronaut. Vinyl is a gatefold, the sleeve comes with metalic ink, the Periastron edition is transparent "white" Vinyl

Die Psych-Rocker aus Cincinnati kehren mit ihrem vierten Album zurück und drehen die texturierten Synthesizer und spacigen Melodien voll auf, um ihr bisher shoegaze-lastigstes Album zu schaffen. Das zentrale Nervensystem von In The Pines befindet sich in The Lodge - einem alten Freimaurertempel, der als Mehrzweckraum gegenüber von Cincinnati in Dayton, Kentucky, umfunktioniert wurde. Die Band bewohnt eine Ecke des Kellers in diesem weitläufigen Labyrinth, wo sie Foleytronics betreibt - einen kleinen Laden für Vintage-Profi-Audio-Reparaturen und einer der wenigen Läden weltweit, der Vintage-Digitaleffekte reparieren kann. Ein natürliches Nebenprodukt dieses Ladens ist das Studio in Bandmitglied Peter Foleys Keller, ein Raum voller verschiedener Vintage-Effekte, Bandmaschinen und Synthesizer, in dem sie Sunbeam Dream vollständig aufgenommen und produziert haben. Alle Aufnahmegeräte, die für ,Sunbeam Dream" verwendet wurden, wurden vor dem sicheren Tod gerettet, repariert und von der Band selbst wieder funktionsfähig gemacht, die sich der Grenzen dieser Geräte bewusst war (und diese gerne ausnutzen wollte). Ähnlich wie beim Konzept von Oulipo in der Poesie und Mathematik entstehen Kreativität und Problemlösungsfähigkeiten aus einem klaren Verständnis und ständiger Überprüfung der Grenzen. Der Aufnahmeprozess ermöglichte es In the Pines zum ersten Mal, sich mit den kleinsten Details zu beschäftigen - ganze Tage wurden damit verbracht, den richtigen Akustikgitarrensound zu finden, nur um schließlich auf ein Stück Klebeband zu kommen, das über die Saiten geklebt wurde; Stunden, die in anderen Studios als Luxus gelten würden, wurden damit verbracht, verschiedene Beckenkombinationen für einen Refrain oder eine Bridge auszuprobieren. Genau wie bei ihrer Reparaturwerkstatt schuf die Band einen Aufnahmeraum, in dem Hyperfokus und Liebe zum Detail nicht nur erlaubt, sondern ausdrücklich erwünscht sind. Das Ergebnis dieser obsessiven Kontrolle ist das bislang ausgereifteste Werk von In The Pines. Sunbeam Dream hebt den Shoegaze-beeinflussten Psych-Rock der Band auf ein neues Niveau. Mit einer stärkeren Betonung der Synthesizer, die sich von einem strukturellen Element zu einem Hauptcharakter im Sound der Band entwickeln (dank eines wiederbelebten Mellotrons von 1971), reiht sich die Band in die Tradition großartiger und kraftvoller Alben wie ,A Northern Soul" von The Verve oder dem selbstbetitelten Album von The Charlatans (UK), bei denen die Produktion der beiden Bands ihrer kreativen Vision zu entsprechen schien. Mit ,Sunbeam Dream" fühlt sich alles heller und klarer an, während es gleichzeitig auf wunderbare Weise in einem Zwielichtschleier schwebt, der jedes Element umgibt.

Black Truffle is thrilled to present the first ever solo Donso n’goni recording from octogenarian Swedish multi-instrumentalist Christer Bothén. Active in the Swedish jazz and improvisation scene since the 1970s, often heard on bass clarinet, Bothén travelled to Mali in 1971, eventually making his way to the Wassoulou region in the country’s south where he encountered the Donso n’goni, the sacred harp of the hunter caste of Wassoulou society. Though playing the instrument has traditionally been restricted to those who belong to the hunters’ brotherhood, Bothén found an enthusiastic teacher in Brouema Dobia, who, after many months of intensive one-on-one lessons, gave Bothén his blessing to play the instrument both traditionally and in his own style. Returning to Sweden, he would go on to pass on what he had learned to Don Cherry and play the Donso n’goni in a wide variety of inventive settings, including the driving Afro-jazz-fusion of his Trancedance (reissued as BT118).

The seven pieces of Christer Bothén Donso n’goni offer up a stunning showcase of Bothén’s work on this remarkable instrument, heard entirely unaccompanied, except for the final piece where he is joined on a second Donso n’goni by his student and collaborator, the virtuoso bassist Kansan/Torbjorn Zetterberg, and Marianne N’Lemvo Linden on the metal Karanjang scraper. Recorded in three sessions in Stockholm between 2019 and 2023 in richly detailed high fidelity, the instrument’s buzzing, sonorous bass strings make an immediate, overwhelming sonic impression. Hyper-focused on hypnotically repeating pentatonic patterns, the seven pieces are at once relentlessly single-minded and endlessly rich in subtle variations. The concentrated listening environment turns small details, such as the deployment of the instrument’s segesege rattle on two of the pieces, into major events. Six of the seven pieces are traditional, with Bothén contributing the remaining ‘La Baraka’, but the line between tradition and the individual talent is imaginary here: as Bothén explained in a recent interview with The Wire’s Clive Bell, ‘I play traditional and untraditional, and I play the music forward and backward’. While the traditional Wassoulou pieces provide the rhythmic and harmonic elements, Bothén’s individuality as a performer is alive in every moment, felt acutely in boundless variations of attack, improvisational flourishes, and unexpected accelerations and decelerations. Captured entirely live and bristling with spontaneity, this music is undeniably the product of almost half a decade of Bothén’s devotion to the Donso n’goni and its traditional music.

Accompanied by detailed new liner notes by Bothén and stunning colour photos from his time in Mali, Christer Bothén Donso n’goni is a stunning document of a remarkable instrument, played with an almost spiritual intensity by one of contemporary music’s great explorers.

Teresa Rotschopf, a musician and composer from Vienna, presents her second solo album, »Currents and Orders« – a radical, delicate, yet grandiose sonic journey between experimental pop, new music, and improvised composition. The album will be presented live on August 27 as part of the »Pop-Kultur« festival (silent green, Berlin) and at the »ORF RadioKulturhaus« (Vienna) on 12 September.

»Currents and Orders« was recorded in an unusual location: a stalactite cave in Styria, Austria. Together with a small group of musicians (Maria Gstättner: bassoon, contraforte; Alex Kranabetter: tuba, trumpet, French horn; Patrick Dunst: saxophone, duduk; Florian Klinger: marimba, vibraphone, glockenspiel, cymbals, gong, stalactite; Patrick Pulsinger: gong, stalactite; Ulrich Schleicher: gong) and in co-production with Patrick Pulsinger, Rotschopf recorded the album in June 2023 – deep underground, far from daylight, but all the closer to archaic sounds and resonances.

The cave becomes not only an acoustic stage, but also a symbolic space of memory, retreat, and transformation. The album comprises four pieces – including two large-scale tracks:
- the opening, mantra-like title track »Currents and Orders« (over 10 minutes)
- the final, free-jazz, expressive »I Open My Gates (for You)« (over 20 minutes)

With a minimalist structure, choral voices, vibraphone, percussion, and wind instruments, fragile yet powerful soundscapes emerge, whose spatial depth is also palpable through the cave reverberation.

Rotschopf first developed the desire to record in a cave in the summer of 2022. What began as a visual and sonic image became a concrete project – supported by the Austrian Cave Association. In June 2023, Rotschopf and her musicians spent three days in a cave in the Styrian forest. Almost a kilometer of cable was laid, and equipment and instruments were carried deep underground. Rotschopf describes the recording situation as a kind of return to herself: »I descended into this cave, as if I could descend into myself, into my own womb ... What we did in the cave could just as easily be called ›recording music,‹ but it could also be called ›remembering‹ – remembering the earth, the cave, and humanity.«

»Currents and Orders« is an album like a ritual: haunting, atmospheric, bold in its form, and deeply rooted in both physical and emotional space. Music that takes its time, uses space, and pushes boundaries.

The pre-release single »O Please My Soul (Rest On My Back)« (release: July 17, 2025) is accompanied by a striking music video shot by Antoinette Zwirchmayr on 16mm film: Teresa Rotschopf holds a real owl in her hand – an image that is as magical as it is enigmatic.

Label owner Martin Hossbach read a review of Rotschopf's first solo album, »Messiah,« in 2018 and contacted the artist. Joint releases followed, including a drone album on the sub-label Martin Hossbach Score and a Pet Shop Boys cover version on Martin Hossbach Cover.

Teresa Rotschopf, Musikerin und Komponistin aus Wien, präsentiert mit »Currents and Orders« ihr zweites Soloalbum – eine radikale, zarte und zugleich groß angelegte Klangreise zwischen experimentellem Pop, Neuer Musik und improvisierter Komposition. Das Album wird am 27.8. im Rahmen des Festivals »Pop-Kultur« (silent green, Berlin) und am 12.9. im »ORF RadioKulturhaus« (Wien) live vorgestellt.

»Currents and Orders« entstand an einem ungewöhnlichen Ort: in einer Tropfsteinhöhle in der Steiermark, Österreich. Gemeinsam mit einer kleinen Gruppe von Musiker:innen (Maria Gstättner: Fagott, Kontraforte; Alex Kranabetter: Tuba, Trompete, Waldhorn; Patrick Dunst: Saxophon, Duduk; Florian Klinger: Marimbaphon, Vibraphon, Glockenspiel, Becken, Gong, Stalakmit; Patrick Pulsinger: Gong, Stalakmit; Ulrich Schleicher: Gong) und in Ko-Produktion mit Patrick Pulsinger nahm Rotschopf das Album im Juni 2023 auf – tief unter der Erde, fern von Tageslicht, dafür umso näher an archaischen Klängen und Resonanzen.

Die Höhle wird nicht nur zur akustischen Bühne, sondern auch zum symbolischen Raum der Erinnerung, des Rückzugs, der Transformation. So umfasst das Album vier Stücke – darunter zwei großformatige Tracks: - das eröffnende mantraartige Titelstück »Currents and Orders« (über 10 Minuten) - das finale, free-jazzig-expressive »I Open My Gates (For You)« (über 20 Minuten)

Mit minimalistischer Struktur, Chorstimmen, Vibraphon, Schlag- und Blasinstrumenten entstehen fragile und zugleich mächtige Klangwelten, deren räumliche Tiefe auch durch den Höhlenhall spürbar wird.

Der Wunsch, in einer Höhle aufzunehmen, kam Rotschopf im Sommer 2022. Was als visuelles und klangliches Bild begann, wurde zu einem konkreten Vorhaben – unterstützt vom Österreichischen Höhlenverein. Im Juni 2023 begab sich Rotschopf mit ihren Musiker:innen drei Tage lang in eine Höhle im steirischen Wald. Fast ein Kilometer Kabel wurde verlegt, Equipment und Instrumente tief unter die Erde getragen. Rotschopf beschreibt die Aufnahmesituation als eine Art Rückkehr in sich selbst: »Ich stieg in diese Höhle hinab, so als ob ich in mich selbst hinabsteigen könnte, in meinen eigenen Schoß [...] Was wir in der Höhle taten, könnte man ›Musik aufnehmen‹ nennen, genauso gut aber auch ›Erinnern‹ – Erinnern von Erde, Höhle und Menschsein.«

Currents and Orders ist ein Album wie ein Ritual: eindringlich, atmosphärisch, mutig in der Form und tief verwurzelt im physischen wie emotionalen Raum. Musik, die sich Zeit nimmt, Raum nutzt und Grenzen sprengt.

Die Vorab-Single »O Please My Soul (Rest On My Back)« (VÖ: 17.7.205) wird begleitet von einem eindrücklichen Musikvideo, das Antoinette Zwirchmayr auf 16mm-Film drehte: Teresa Rotschopf hält darin eine echte Eule auf ihrer Hand – ein Bild, das genauso magisch wie rätselhaft wirkt.

Labelbetreiber Martin Hossbach las im Jahr 2018 eine Rezension des ersten Rotschopf-Soloalbums »Messiah« und nahm Kontakt zu der Künstlerin auf. Es folgten gemeinsame Veröffentlichungen – etwa ein Drone-Album auf dem Sub-Label Martin Hossbach Score und eine Pet-Shop-Boys-Coverversion auf Martin Hossbach Cover.

Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations.

In 2023, Realf Heygate - who makes music as Flaer - released his debut mini-album Preludes, composed on his mother’s piano and his childhood cello.Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall.

Like Preludes, Translations is coloured with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds.

“When I digitised my mother’s tapes, they warped and stuttered in a very similar way to the starling’s song,” he explains. “They had this uncanny rhythm and pulse that I couldn’t quite decode, but was saying something." These decayed transmissions hint at loss, resisting clarity in favour of the ineffable.

Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album’s opening track ‘Entre’. At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and ‘Starling Descends’ (a reference to Vaughan Williams’ ‘The Lark Ascending’) act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting awider palette of influences.

“Flaer began in many ways when I picked up my mother’s instruments, seeking a form of reconnection. Where words evaded me, they became the tools through which I found a language for grief – and above all, for love.”

Recorded between 2023 and 2025 – what Heygate calls “A gradual process of sowing and harvesting ideas rather than a single intense creative period” - each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.

“It's that feeling of searching that I really enjoy,” Heygate continues. “I never know what the destination of the composition is going to be, and I never really find what it is."

Translations is released on limited edition off-white vinyl LP (500 copies worldwide) with one of five signed and numbered handmade risograph prints. It's also available as standard black vinyl LP and digitally.

Can you believe it? Devendra Banhart's Cripple Crow - originally released by XL in 2005 - is turning 20 years old. This was the 5th album from the Venezuelan American artist who is considered the pioneer of the "Freak Folk" and "New Weird America" movements. To celebrate - Devendra has compiled a reissue of the out of print release that features a 3rd Bonus LP (on Clear Green Smoke Vinyl) featuring 9 bonus tracks, including 1 B-Side, 5 previously unreleased demos, 2 previously unreleased live tracks, and 1 unearthed smash hit from the recording sessions. This release is the first on his newly created Heavy Flowers label. The album received a "Best New Music" 8.4 review from Pitchfork upon its release. The release date will fall 1 day prior to the actual 20th Anniversary, which will be the first time Devendra is early for anything. Now THAT is something to celebrate! Limited to 2000 units on 3xLP with Bonus LP on Clear Green Smoke Vinyl. 36 tracks of music and 1 track of .... well... you decide! "Cripple Crow is undoubtedly impressive, vastly singular but entirely accessible, and an inspired listening experience where Banhart again proves himself as one of the more talented and charismatic forces in modern music." - Pitchfork

Includes insert with lyrics
Featuring the songs "Im Nin Alu-2000", "Show Me" and "Give Me a Sign" a.o.
Limited edition of 750 numbered copies on gold coloured vinyl

Ofra Haza is the eponymous 1997 album by Israeli singer Ofra Haza. It was produced by Frank Peterson (Enigma, Gregorian) and features

Pino Palladino on the bass guitar. The album was recorded in Hamburg and at Abbey Road Studios in London and contains an updated version of the

hit song "Im Nin' Alu". It also features the singles "Show Me" and "Give Me a Sign".

This was Ofra Haza's final full-length studio album before her passing in 2000.

Bushbaby's mixtape, 'EVERY TIME', is a statement piece from one of the UK's most exciting club producers.

Known for blending UKG, house, and raw rave energy, this 10-track project showcases the full scope of his sound.

The mixtape lands off the back of a huge 12 months. 'Shake and Slide' went viral on socials, 'Feel The Rush' showed his melodic side, and his DJ sets have lit up dancefloors across the UK, Europe, USA and Australia. With major support from Four Tet, Disclosure, Danny Howard, Chris Stussy, bullet tooth, DJ Seinfeld, NOTION, Y U QT, Ben UFO, Diffrent, Hamdi, Interplanetary Criminal and Sammy Virji, Bushbaby is leading a new wave.

Pressed to vinyl and backed by a full world tour, 'EVERY TIME' marks the start of a new chapter.

Bushbaby's mixtape, 'EVERY TIME', is a statement piece from one of the UK's most exciting club producers.

Known for blending UKG, house, and raw rave energy, this 10-track project showcases the full scope of his sound.

The mixtape lands off the back of a huge 12 months. 'Shake and Slide' went viral on socials, 'Feel The Rush' showed his melodic side, and his DJ sets have lit up dancefloors across the UK, Europe, USA and Australia. With major support from Four Tet, Disclosure, Danny Howard, Chris Stussy, bullet tooth, DJ Seinfeld, NOTION, Y U QT, Ben UFO, Diffrent, Hamdi, Interplanetary Criminal and Sammy Virji, Bushbaby is leading a new wave.

Pressed to vinyl and backed by a full world tour, 'EVERY TIME' marks the start of a new chapter.

Die Black Lips sind mit einer 40-minütigen Rock'n'Roll-Odyssee quer durch die Genres zurück, bei der Garagenrock auf New-Wave-Pop trifft und verärgerter Country sich die Hand mit epischen Western-Soundtracks gibt. Das 14-Track-Album fängt die Energie und den Geist der frühen Black Lips ein und geht gleichzeitig neue Wege beim Songwriting. Das Album ist ein musikalisches Karussell, eine Trip mit straßengeschundenen Geschichten aus der Schattenseite eines lichtlosen Amerikas. Die Rahmung bildet "The Illusion", pt.I und II: eine Suche nach Hoffnung, Angst und Hass in einer Bar, die immer wieder von einem Gefühl der Resignation durchkreuzt wird: ,you reach for the sky / but it's an illusion". An anderer Stelle spielt sich "Wild One" wie ein Morricone-Taumel durch einen weiteren Tag in der Hölle ab. Ein Mantra für verkatertes, himmelschreiendes Klagelied zum Lob des Wilden im Herzen. "Tippy Tongue" zeigt, wie Black Lips den Soul der 60er-Jahre-Girlgroups aufgreifen, wie Shangri-Las oder Ronettes, die von Jayne/Wayne County infiltriert wurden, und ist eine Hommage an Buddha Records. "Kassandra" hat einen sonntäglichen Gitarrensound, der sich wie The Chocolate Watchband mit Zappa am Gesang durch immer wiederkehrende Salven schlängelt. "Zulu Saints" ist ein beschwingter Country-Hupf, ein Gute-Laune-Stück mit Bravour, gespickt mit Cole in einer ungläubigen Radio-Telefon-Show, der nach schwarzäugigen Erbsen sucht und an den Spielautomaten groß gewinnt. Für die Aufnahmen verschanzten sie sich in der idyllischen Umgebung von Schlagzeuger Oakleys neuem Sound At Manor Studio in den Catskills (das erste Album, das dort aufgenommen wurde, seit Oakley das Studio 2020 baute). In dieser idyllischen Umgebung entzog sich die Band dem Stadtleben und nahm ihre Musik analog auf Band auf - Teil ihres Bestrebens, Spontaneität zu leben und die Energie eines Live-Konzerts der Black Lips auf Platte einzufangen. Gelungen! "Simply masters in their field" NME" - Limitiertes, cremefarbenes Vinyl mit DLC sowie CD im Digisleeve

Wir feiern das 30. Jubiläum von „Afraid of Sunlight“, dem achten Studioalbum von Marillion. Seit seiner Erstveröffentlichung im Jahr 1995 hat sich das Album zu einem der von der Kritik am meisten gefeierten Alben der Band entwickelt. Es wurde 1995 vom Q Magazine in die Liste der „Recordings of the Year“ aufgenommen und rangiert auf Platz 90 der Liste der „100 Greatest Prog Albums of All Time“ des Prog Magazine.

Ursprünglich 1985 veröffentlicht, ist „Misplaced Childhood“ das dritte Studioalbum von Marillion – ein Konzeptalbum, das lose auf der Kindheit des Sängers Fish basiert. Mit den Singles „Kayleigh“, „Lavender“ und „Heart of Lothian“ erreichte das Album Platz 1 in Großbritannien und schaffte es in Deutschland, der Schweiz, den Niederlanden und Norwegen in die Top 10. Es wurde seitdem im Vereinigten Königreich und in Deutschland mit Platin und in der Schweiz mit Gold ausgezeichnet.

Everybody loves the vocal sound of Bob Marley. But what about the music that supports his songs? This album contains a variety of mostly instrumental remixes of well-known Bob Marley songs. An eclectic mix of names have put their personal stamp on some of Bob’s classic tunes with some Interesting results. Cypress Hill’s Sen Dog has taken on ‘African Herbsman’, while Sheep On Drugs have had a stab at ‘Don’t Rock My Boat’. These and many more versions will keep the head nodding at the very least.

Legendary and pioneering Träd, Gräs och Stenar is considered Sweden's oldest rock band to introduce psychedelic underground music. The group originally formed in 1967 as International Harvester, later became Harvester, and eventually evolved into Träd, Gräs och Stenar. Their unique blend of psychedelic rock and traditional Swedish folk music was groundbreaking at the time-and still resonates with new generations of listeners today. This long-awaited "Green Album" from 1970 marks their very first release under the name Träd, Gräs och Stenar. Now, for the first time since its original release, it's being reissued on vinyl-complete with rare photos, an in-depth story, and a 30x60 cm poster. Decades later, the band continues to perform under the name TRÄDEN, now with only one original member. He is joined by a new generation of acclaimed musicians, who are keeping the spirit alive and carrying the sounds and legacy of Träd, Gräs och Stenar into the future.

Mit "Smile" liefern Rong Kong Koma ihr drittes Album, und es ist ihr kompromisslosestes. Wo die Vorgänger noch verspielte Umwege nahmen, geht es jetzt direkt durch die Wand. Der Sound ist rau, kantig und voll auf die Fresse. Mit mehr Schmutz als Glanz. Die Band stampft mal wie ein zorniges Metronom, schaltet dann in Reggaeton-Grooves oder fällt in sich zusammen, wenn sich plötzlich eine zerbrechliche Ballade in den Raum stellt. Was glauben die eigentlich, wer sie sind? Die Produktion ist trocken und aggressiv, das Songwriting unberechenbar und bissig. Auch textlich bleibt es unbequem: Absurder Humor trifft auf präzise Alltagsbeobachtungen und wütende Spitzen gegen den Rechtsruck, toxische Männlichkeit und die gepflegte Lethargie der Mitte. "Smile" ist keine einfache Platte. Aber eine zwingende. Zwischen Punk, Indie und einer gesunden Portion Wahnsinn, der große Gefühle kennt, aber keine Pose braucht.

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

NEW SAINTS sind Mel Quitt (Gitarre) und Harry Darling (Gesang und Gadgets) - und nein, sie sind nicht vom Himmel gefallen. Beide sind seit mehr als einem Jahrzehnt fester Bestandteil der Punkrock-Szene und schreiben, nehmen auf und spielen seit ihrer Jugend zusammen Musik. Mit ihrer vorherigen Band BITCH QUEENS haben sie über 7 Alben veröffentlicht und ausgiebig durch ganz Europa, die USA und sogar Japan getourt. Die NEW SAINTS bleiben ihren Wurzeln treu, während sie eine erfrischend vielfältige Mischung aus schweren Gitarren, Hardcore-Gesang, elektronischen Beats und verzerrten Synthesizern bieten. Es ist modern, aber echt, direkt, aber melodiös, sozialkritisch, aber unterhaltsam - ein perfekter Mix, der dich gleichzeit tanzen und pogen lässt, bis der Schweiss von der Decke tropft!

Sticking a dirty thumb in the eye of fate, our third collaboration sees this marrow deep family malarky turn official as Pace Yourself teams up with YS’s own imprint ERF REC for a split release. As if our status as minor celebrities and footnotes of the underground could level off no further: the unification no one asked for is here. Sticking it to the man, handing your arse to ya on plate; cauterising infected suburban minds world over.

Burn is the second YS album and written as a direct follow-up album to Brutal Flowers. If their first album was an exercise in the incremental, a construction of poise and patience, Burn, should be taken way the fuck at it’s word: it quite literally finds catharsis in twisted reverse. Birthed out the malignant kick found in deconstruction and chaos. Evil twin, psychotic younger sibling, call it what the hell you like. It might take you a moment to get the lay of the land in this darkly mutated world. Like a bug eye’d native first confronted with a zippo, the hit is radical and instant: a new way for the world to go up in smoke.

Splice the Seattle slacker scene with the spliffhead soundsystem culture of the 90s Bristol trip-hop scene, then cross-breed that with the DIY optimism and glee in creation found in the cut-and-paste worlds of skate, graffiti and hiphop, now run that through the skitzo basement mind of John.T. Gast and you’re close to the kind of scorched earth and spiked suburbia that birthed Burn.

Dunno quite what YS have been ingesting of late but this massively twisted LP touches on a host of gloriously fucked totemic underground sources while not sounding much like any of them. It has the ballsy swagger and hard flipping of the script as Massive Attack’s seminal Blue Lines. Indeed, the eponymous album tracks sound similar - the opener ‘Burn’ is like a hard nosed jammed out redux of ‘Blue Lines’. Getting into a kind of slow-spinning overdubbed maximal euphoria ending with mumbled downer vocals, struggling to conceal their tongues in their cheeks there’s an air of paranoia and proto-conspiracy theory. It’ll leave you scratching your head, feeling like you’ve stepped into a New World Order governed by a cacophony of drop outs, dope fiends and apocalyptic stoners. A cracked out world somewhere between Richard Linklater’s movie Slacker (1990) and Marc Singer’s Dark Days (2001).

The rest of the album parts like a tongue on a wine glass: Smith and Mighty, Bandulu, ambient Luke Slater records, Wah Wah Wino, Nurse with Wound, Land of the Loops, Placid Angels, Adrian Sherwood, Urban Tribe and DJ Shadow can all be heard in momentary splatters - but Burn like other works by YS, is its own ritual beast. ‘Moth’, a track which has been knocking about the underground deejai circuit for many moons, is a real raw chopped and screwed slice of stoner erotica that reeks of obsession and unrequited desire. Elsewhere, on tracks like ‘Switch’, ‘Trying’ and ‘Drift’ the throughline from Brutal Flowers can be heard. Underneath the driving heavy gravity the trademark emotional intimacies of YS linger: eternal recurrence, ghosts of static and shortwave, worn memories of the playful and painful sort. The brief moments where flashes of orchestral ambience get out from underneath the swagger are so pure, personal and unguarded that for a moment they leave you completely lonesome. In the album’s closer ‘End’, you can hear the fleeting promise and DIY possibilities of an analogue world and embers of ash that flutter in its wake: where it seemed, for a brief moment, that collective of DJs, engineers, rappers, graffiti artists and skate crews were emerging from the streets, giving the middle fingers to the system, before just as quickly disappearing back to the doldrums of obscurity. ‘End’ is a bittersweet ode to early soundsystem culture, MCs and pirate radio - an out of step time where for a moment the underdogs and weirdos seemed to be kicking on the door of something bigger.

A veritable teenage doof suite dosed with desire, claustrophobia and deviance. Burn is a good old howl at the moon: lonely, raw, and out for blood; basement style exegesis at its best. A thump to the gut, a stud through your blood. A dubbed-to-death classic straight out of the annals of nowhere. A perfect post card from oblivion. A bleak, bold and personally ferocious vision of tomorrow and tomorrow and tomorrow.

This is everything that record collectors skip dates for. Fuck the scene and keep that shit underground. That’s what it is all about. Know what I mean, if you do? You’re in…

Belgian drummer and composer Jelle Van Giel presents All I Hear, the first full-length album of his new band, Close Distance.

All I Hear unfolds in ten chapters - nine on vinyl, with an additional track on CD. Each track depicts its own world. Some burst to life, driven by energy that draws you in and melodies that linger. Others take their time, emerging like landscapes through morning mist, shaped by shifting textures and quiet detail.

Subtle soundscapes and cinematic colors blend with improvisation and groove, creating an immersive listening experience that speaks to both head and heart. This is music that paints with sound, drawing the listener deep into the world of Close Distance: a quartet in which Jelle invites his fellow musicians Roeland Celis (guitar), Ewout Pierreux (piano/rhodes) and Yannick Peeters (double bass) to join him on his journey and sometimes lead the way.

Oscar-nominated composer Rafiq Bhatia has only deepened his status as "one of the most intriguing figures in music today...who refuses to be pinned to one genre, culture or instrument" (New York Times). On his new album Environments out on September 12th, Bhatia makes sculptural, meticulously crafted music that finds common ground among ecstatic avant-garde jazz. New technological integrations have allowed Bhatia to merge his last decade of development as an electroacoustic composer back into his practice as an improvising guitarist, using real-time sampling and manipulation to express and develop multiple worlds of sound at once. Rafiq has previously co-scored Marvel"s Thunderbolts and the Oscar-nominated soundtrack for Everything Everywhere All AT Once with his bandmates, Son Lux.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself _ led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt _ but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, "Copa, raya, paliza" and "Es un buen día" are guaranteed party-starters no garage DJ should be without. Pressed on neon pink vinyl.

"Entweder du machst, was alle machen, besser als alle anderen oder du machst, ganz was anderes..." Was Sergio Leone für den Western war, ist Johnny Indigo für die Rock Musik. Anders, rauher, echt und kompromisslos. Johnny Indigo ist das Soloprojekt von dem Wahlwiener Mathias Kollos, der bereits für viele Künstler hinter den Kulissen und auf verschiedensten Bühnen tätig ist und war. Jetzt hat er den Schritt nach vorne getan und tritt mit seiner Band "The El Dorado Wildfire" mit eigens für Live arrangierten Versionen von seinem Debut Album "American Daydreams" gemeinsam auf. Wie klingt das verschmitzte Grinsen von Terence Hill? Was hört man, wenn Clint Eastwood seine unvergleichliche Miene verzieht? Den eigenständigen Mix aus Alternative Rock, Southern Rock, Country und Blues von Johnny Indigo. Das Album vermischt Roots und Country Elemente mit modernem Rock und Blues. Ästhetisch geprägt von dem Image der Spaghetti Western, ohne in unnötige Cliches zu verfallen. Vergangene Acts wie Led Zeppelin, Jimi Hendrix oder die Rolling Stones werden ebenso nicht vernachlässigt wie moderne Formationen wie Queens Of The Stone Age, The Black Keys oder Rival Sons.

Nach dem Erfolg der ersten zehn Alben der Vinyl Edition von Hyperion (veröffentlicht im September 2024
und März 2025) folgen nun sechs weitere LPs. Alle Alben erscheinen erstmals auf Vinyl und zeigen weltweit
tourende Künstler, mit denen das Label seit langem eng zusammenarbeitet. Jeder der sechs Titel wird als
limitierte 180g-LP erscheinen, die in einem vollfarbigen Gatefold präsentiert wird und mit einem Begleitheft
ausgestattet ist.
Die Kritikerin von Gramophone erwartete „außergewöhnliche Dinge“ von Marc-André Hamelin in CPE
Bachs Sonaten & Rondos. Man kann mit Sicherheit sagen, dass sich ihr Instinkt als richtig erwiesen hat:
„Kurz gesagt, ich kann mir keine bessere Einführung in CPE Bach auf dem modernen Klavier vorstellen“.
Dies ist ein 2LP-Set.
Der Pianist Marc-André Hamelin ist weltweit bekannt für seine unvergleichliche Mischung aus vollendeter
Musikalität und brillanter Technik in den großen Werken des etablierten Repertoires sowie für seine unerschrockene Erkundung der Raritäten des 19., 20. und 21. Jahrhunderts - in Konzerten und auf Aufnahmen,
die ihn zu einer wahren Ikone des Klaviers machen.

Nach dem Erfolg der ersten zehn Alben der Vinyl Edition von Hyperion (veröffentlicht im September 2024
und März 2025) folgen nun sechs weitere LPs. Alle Alben erscheinen erstmals auf Vinyl und zeigen weltweit
tourende Künstler, mit denen das Label seit langem eng zusammenarbeitet. Jeder der sechs Titel wird als
limitierte 180g-LP erscheinen, die in einem vollfarbigen Gatefold präsentiert wird und mit einem Begleitheft
ausgestattet ist.
„Absolut herausragend“, „ein wildes neues Talent“ und „elektrisierend“ sind nur einige der Superlative, mit
denen Andrey Gugnins Hyperion-Debütalbum mit Schostakowitschs Präludien und Klaviersonaten bei seiner
Veröffentlichung 2019 überhäuft wurde. Gugnin war der Gewinner des Internationalen Klavierwettbewerbs
von Sydney 2016, „von dessen Klavierspiel man einfach nicht genug bekommen kann“ (Gramophone).
Der in Moskau geborene Konzertpianist Andrey Gugnin erlangt schnell internationale Anerkennung als
leidenschaftlicher Virtuose, der über eine „außerordentlich vielseitige und agile Technik verfügt, die einer oft
inspirierten musikalischen Fantasie dient“ (Gramophone). Als gefragter Konzertsolist wurde Andrey Gugnin
zu Gastauftritten mit namhaften Orchestern auf der ganzen Welt eingeladen: dem London Philharmonic
Orchestra, dem Danish National Symphony Orchestra und dem Mariinsky Theatre Orchestra, um nur einige
zu nennen.

Nach dem Erfolg der ersten zehn Alben der Vinyl Edition von Hyperion (veröffentlicht im September 2024
und März 2025) folgen nun sechs weitere LPs. Alle Alben erscheinen erstmals auf Vinyl und zeigen weltweit
tourende Künstler, mit denen das Label seit langem eng zusammenarbeitet. Jeder der sechs Titel wird als
limitierte 180g-LP erscheinen, die in einem vollfarbigen Gatefold präsentiert wird und mit einem Begleitheft
ausgestattet ist.
Für seine 2011 erschienene Aufnahme der Klavierkonzerte von Grieg und Liszt reiste Sir Stephen Hough
in Griegs Heimatstadt Bergen, um mit Andrew Litton und dem Bergen Philharmonic Orchestra zusammenzuarbeiten. Bei seiner ursprünglichen Veröffentlichung nannte die Sunday Times Houghs Album „eine
der wichtigsten Veröffentlichungen zum Liszt-Jubiläum, von Großbritanniens größtem lebenden Magier der
Klaviatur“.
Sir Stephen Hough, der von The Economist als einer der zwanzig lebenden Universalgelehrten bezeichnet
wurde, verbindet die herausragende Karriere eines Konzertpianisten mit der eines Komponisten und Schriftstellers. In Anerkennung seines Beitrags zum kulturellen Leben wurde er als erster klassischer Künstler mit
einem MacArthur Fellowship ausgezeichnet und erhielt 2022 im Rahmen der Queen’s Birthday Honours
den Ritterschlag für seine Verdienste um die Musik.

FJAAK return with a powerful remix package, delivering fresh takes on a selection of tracks from their unforgettable 2024 album 'FJAAK THE SYSTEM'. Welcoming three standout remixes from some of techno's most respected names, 'REMIX02' sees offerings from Robert Hood, Shed and West Code, as well as some surprise Bandcamp digital only remixes selected from the participants of FJAAK's latest remix competition. Kicking off the main remix package release, Detroit legend Robert Hood brings his unmistakable raw, relentless and pioneering sound to the table as he reimagines FJAAK's 'Breathe Underwater'. The genre-defining godfather serves up an undeniably signature cut flooded with euphoric energy, thumping grooves, rippling musicality and spaced-out vocal injections, carving out an authentic Floorplan-esque peak-time jam. Berlin-based artist Shed (one of the many monikers of established electronic stalwart Ren? Pawlowitz) is next to feature, delivering another impressive spin on FJAAK's work, this time exploring his vision on 'Micro Expressions'. An impressive blend of hypnotism and electricity, this bold remix echoes FJAAK's preference for cultivating huge dancefloor heaters that thrive on live instrumentalism and limitless energy. It's racy, groovy and raw, building around rolling rhythms, warping layers of analogue sound and intricate breaks throughout. Argentinian talent West Code was the winner of the 'Redemption' remix competition and rounds off the main package with a huge interpretation of FJAAK's original mix. Almost bordering into tribal techno in places, its emphasis on groove and subtle South American influences create a unique remix, overflowing with boomy low-end drive, piercing percussive drive and mind-bending melodics - a real gem for the height of the party and irresistibly sinister from start to finish. The remix competition of 'Redemption' drew an overwhelming response from producers worldwide, which made it very difficult to choose a winner. Even though West Code's interpretation was the chosen remix, four other interpretations were so good that FJAAK decided to showcase the talent of Helsmoortel, Genex, Ay Din and Your friend daao by including their reworks on an exclusive Bandcamp-only EP, highlighting the duo's ongoing commitment to to the underground.

Composed, Arranged, and Conducted by: Norio Maeda

Has there ever been a soundtrack so thrilling and beautiful? This is the pinnacle of cine-jazz, crafted by the master Norio Maeda.

Released in 1971, Shadow Of The Highway is a suspense-action film produced and starring Jiro Tamiya, and directed by Jun Fukuda.
True to its tagline—“A sports car tearing vertically through Japan, from Kagoshima to Hokkaido”—the film features a Mitsubishi Galant GTO racing
across the country. Often compared to the American New Cinema classic Vanishing Point, it stands as a Japanese road movie gem.

The music was composed by the legendary Norio Maeda. His piano corners with elegance, the vibraphone dashes forward with flair, the bass charges
ahead with power, and the drums shift gears with precision. Motion and stillness, obsession and desire, joy and sorrow—thrilling performances and
beautiful melodies elevate the film to new heights.

As a soundtrack, it is exceptional. But even more, it represents an extraordinary level of quality for Japanese jazz in 1971. The performances are so
remarkable that it’s unfortunate the exact personnel remain unidentified. However, it has long been rumored that the musicians may have been associated
with Takeshi Inomata’s Sound Limited—or possibly The Third.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Le Le - the electronic cult trio of Piet Parra, Rimer London, and Pepijn Lanen (Faberyayo) - brings together their finest work on a double LP for the very first time. Great Stuff is a carefully curated selection of their most beloved tracks, newly remastered for this release. From dance floor classics like Breakfast to eccentric pop gems like Skinny Jeans, Great Stuff showcases why Le Le has held a unique place in the Dutch music and art scene since their debut. Now available for the first time on double LP - a must-have for fans and collectors alike.

Roland Van Campenhout is certainly one of the most unique Belgian artists. Active since the 1960s, Roland has built an extensive and eclectic discography. With more than 20 albums featuring folk, blues, rock, world music, movie and theatre soundtracks — all blending together to create a new musical dimension that defines his true free musical spirit. He has received multiple awards, toured the world with Rory Gallagher, and performed with Tim Hardin, Leo Kottke, Ian Anderson, and the entire Belgian scene.

Born in Antwerp in 1939, Ferre became a true icon in the sixties, adored by youngsters and hippies and hated by the establishment. His successful debut album in 1966, which featured the hits “Ring Ring, I’ve Got to Sing,” “Crucified Jesus,” and “Drunken Sailor,” brought him an international breakthrough with concerts in Paris, London, and Hamburg, leading to a contract with the famous French Barclay label. The next three albums did not equal the initial commercial success — a pressure the music business was happy to put on his shoulders. Still, these three albums, reissued in their original packaging and artwork on vinyl for the very first time, are loaded with hidden gems, combining folk, blues, and psychedelics in Ferre’s original songs.

Grignard sadly succumbed to throat cancer in 1982 at the early age of 43.

The song sets the tone of this album. A simple structure, over which a web of rhythm is woven using an instrumentation of old drum machines in dialogue with live drums and percussion. Lots of sax, tenor and baritone! A pumping bass. A frisky pizzicato violin. And some classic keyboards: the Fender Rhodes, the Hohner Clavinette D6, the L-100 Hammond organ. And lots of analogue synthesisers: a rippling Juno-106 marks the path to follow, which is crossed with phrases from other museum pieces: Crumar's Stratus, Farfisa's Synthorchestra, Sequential's Prophet-10. Or still the Casio Club M-100, which is basically a toy, but has been subtly colouring SKC's songs for years!

SKC has often dived deep into the repertoire of artists he holds in high esteem, looking for pearls, forgotten or not, to work on. Likewise on this album with versions of songs by Prince, Dez Mona, Alain Bashung…

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series by the press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks, mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s material; the albums offer restored and remastered sound quality and are specifically curated to appeal to all sixties rock fans.