quête:l orange

Brandys bahnbrechendes Album Afrodisiac kehrt auf Vinyl zurück! Diese 2-LP-Neuauflage mit Hits wie Talk About Our Love und Who Is She 2 U erscheint auf 140 g schwerem Vinyl in strahlendem Orange. Verpasse nicht die Gelegenheit, diesen R&B-Klassiker auf Vinyl zu besitzen!

SWEARING AT MOTORISTS haben einen langen Weg hinter sich, seit der Name 1994 auf Plakaten für eine Fake-Band erschien Die hingen auf mysteriöse Weise in Plattenläden und Musiklokalen in Dayton, Ohio, Ein paar Monate nachdem die Plakate auf auftauchten kritzelte Dave Doughman den Namen auf eine Kassette mit homerecordings, die er an Freunde verschenkte, und 1995 war die Band dann offiziell geboren. Ende der 90er Jahre veröffentlichten S@M eine Reihe von 7"-EPs bei verschiedenen Labels, und nachdem sie wiederholt von John Peel gespielt wurden und die Presse weltweit positiv über sie berichtet hatte, erhielt die Band einen Vertrag mit dem damals neuen Label Secretly Canadian. Sie veröffentlichten 2 EPs und 4 LPs auf Secretly Canadian, darunter Number Seven Uptown aus dem Jahr 2000 und This Flag Signals Goodbye aus dem Jahr 2002, die beide in den Jahren ihrer Veröffentlichung vom MOJO Magazine zum Underground Album of the Year" gewählt wurden. Swearing At Motorists zogen 2005 nach Berlin, Deutschland, und veröffentlichten im folgenden Jahr ihre letzte LP für Secretly Canadian, Last Night Becomes This Morning, bevor sie leise in der nicht enden wollenden Berliner Nacht verschwanden... 8 Jahre später war die Band plötzlich in Hamburg wieder aufgetaucht, mit einem neuen Album: "While Laughing, The Joker Tells The Truth", das 2014 auf Anton Newcombes Label A Recordings Ltd. erschien. Co-produziert von Dave und Rick McPhail (von Tocotronic), erzählt das Album die Geschichten dieser verlorenen" 8 Jahre im klassischen Motorists-Stil. Der Autor Camden Joy, vielleicht eine weitere Underground-Figur der 90er/00er Jahre, beschreibt es am besten: "Like Iggy Pop's great lost Nashville record or the legendary demos for the Strokes masterpiece that never was, this recording is full of catchy courage, significant low notes, bedroom rhythms, hooks, and so on, all of which make for an impossible amount of pleasure. This Swearing At effort towers heads and squirrels above whatever that was you were just listening to. I see why Rolling Stone gave it five stars." - Camden Joy 11 Jahre später ist die Band in Hamburg erneut aufgetaucht, aus einer weiteren Auszeit und mit einem neuen Album, das im Herbst 2025 über BB*ISLAND erscheinen soll. Vor der Veröffentlichung stellen wir euch das Album von 2014 noch einmal, oder zum allerersten Mal vor. Vielleicht lag Camden Joy genau richtig. Zu gut, um vergessen und vergriffen zu sein. Das Beständige an Swearing At Motorists sind ihre Auszeiten als Band. Alles andere ist Bonus, aber das ist natürlich der beste Teil. "...While Laughing...demontrates Doughman's unerring abilitity to turn autobiographical minutiae and emotional turmoil into exquisitely heartfelt rock'n'roll poetry. From the warmly familiar powerpop chug of Groundhog Day (Damn The Piper) and Great Actress, to the tearjerker wistfulness of Wrote You A Letter and acoustic closer It's Love That Chooses You, this is classic Swearing At Motorists throughout...." - Andrew Carden/ MOJO

Available 13 June 2025 on double translucent orange vinyl, Trios captures the magic of Buddy Rich's legendary three- man jam sessions-- performances that have never been officially released until now. Recorded live during international concerts in 1976 and 1977, Trios showcases Rich alongside extraordinary talents: bassists Jon Burr and Tom Warrington, and young piano prodigy Barry Kiener. These trio interludes--recorded by Rich's alto saxophonist Alan Gauvin--feature Rich playing with brushes in an intimate setting, spotlighting his dynamic range and nuance. "These trio sets were often played to give the brass section a break," says Gauvin. "But what Buddy did with those moments was extraordinary. It was a masterclass in restraint, creativity, and musical interplay." Among the album's ten tracks are beautifully reimagined standards such as "Just Friends," "Stella by Starlight," and "My Romance." Each performance highlights Rich's desire to step back and allow the piano and bass to shine--something unheard of for a drummer of his stature. The release also serves as a tribute to Barry Kiener, the immensely gifted pianist who tragically passed away at 30. "Barry had been like a son to him," remembers Buddy's daughter Cathy Rich, who serves as an Executive Producer. "This album is a rare glimpse into Barry's brilliance and the deep musical bond he shared with my father." Trios was recorded and produced by Alan Gauvin, mastered by Tom Swift, with cover art by Michael Patterson, the award-winning visual artist and USC professor known for his work on a-ha's iconic "Take on Me" video.

José James just can’t leave the ’70s alone. Or maybe it’s the other way around. The singer, songwriter, bandleader, and producer was born in 1978, after all, but over his past 17 years of fundamentally forward-looking, blessedly mercurial music, he keeps getting pulled back in. His 2013 Blue Note breakthrough No Beginning No End revisited the hooky, funky, jazz-streaked songcraft of the time through a modern crate-digger’s ears. On 2020’s No Beginning No End 2 — James’ debut on his own Rainbow Blonde Records — he went back through the portal with a small army of fellow celebrated eclecticists. Just last year, there was the album 1978, a richly layered love letter to said year that felt deep, luxe, and cool. It’s as if — vested with the restless fluidity of jazz, the tuned-in sensitivity of soul, and the revisionist grit of hip-hop — he is trying to play his way into the exact moment when, culturally speaking, everything was about to change.

“I'm still so fascinated by the tension in that era of all these seemingly clashing things happening at once,” says James. “The loft scene, the jazz scene, Elton and Billy, Bob Marley, the Isleys, Funkadelic, disco being this behemoth in a way I don't think we even understand today… And then there’s where everybody went from there — into hip-hop, into punk rock, exploding jazz. It's like a summation of the ’70s, and it's about to transform. It's the peak of the rollercoaster.”

Literally breaking into history is impossible, of course, but James’ new LP, 1978: Revenge of the Dragon, does feel like breaking through or bursting out. In loving contrast to its predecessor, the fresh set plays hot, like a Friday night out at the Mudd Club in its prime. Though he’s dreamt up albums with collaborator counts approaching the dozens, James gathered a tight crew for this one. Himself and Taali on vocals. BIGYUKI on keys and analog synth. Jharis Yokley on drums. Bass split between David Ginyard (Blood Orange, Terence Blanchard) and Kyle Miles (Michelle Ndgeocello, Nick Hakim). And an all-star brass lineup: Takuya Kuroda on trumpet, young lion Ebban Dorsey on alto sax, and genre-spanning ronin Ben Wendel on tenor sax. They set up in Dreamland Studios near Woodstock, a restored 19th century church, and recorded live to tape, two tracks, drums pushed to the max — “a small homage to the rise of punk,” says James.

In that place out of time, the band laid down a handful of choice covers and some wild originals, like the single “They Sleep, We Grind (for Badu),” a decades-collapsing cut powered by an ugly groove. Steeped in dub, funk, and sampledelia, James chants an artists’ mantra (“They sleep, we grind / Man, f--- your nine to five”), makes lyrical callouts to Marley and Nas, and channels everything from George Clinton to J Dilla, not to mention the earthy mysticism of Erykah Badu. In 2023, James released and toured his Badu covers LP, On & On. “Living in her musical house for a year was transformative,” he says. “This is my summary of everything I learned through her, tying it to this idea that artists move differently. We are in society but we are outside, too, looking out and in at the same time. Our hours are different, our schedules are different.”

To that point, James and co. actually began each day in the woods, filming the album’s visual companion piece, Revenge of the Dragon, an honest-to-God kung-fu short complete with bad overdubs, training montages, camera tricks, and plot twists. The film pays tribute not only to the genre’s greatest year (1978, of course), but also its cinematic exchange with Blaxploitation, plus James’ own recent Shaolin training and admiration for Bruce Lee as a culture-bridging force (the LP’s cover recreates an iconic shot of Lee). On top of that, says James, “We had this immediacy in the studio. Live, one take, no overdubbing. I feel like that's where the martial arts piece comes in, where it's about being relaxed but also aware, and there's immediacy in your movements.”

Across the project, tribute takes that refracted, multifaceted form. From his personal late-’70s playlist, James chose four covers reflecting the era’s disco-fied churn: the MJ-meets-Quincy dancefloor masterpiece “Rock With You”; Herbie Hancock’s prescient vocoder fever dream, “I Thought It Was You”; and a pair of Black-radio hits from two bands whose fans typically wouldn’t have been caught dead in the same stadium: “Miss You” by the Rolling Stones and the Bee Gees’ “Inside and Out.” All of it gets filtered through a contemporary Black (and beyond) lens, coming out loud, free, funky, and buzzing — dynamic, yes, but also of a joyous piece.

1978: Revenge of the Dragon transports you to a crowded room where all this is playing out in real time. That feeling is helped out by opener “Tokyo Daydream,” a bass-driven swan dive into a neverending night of boutique bar-hopping and neon revelry. Later, “Rise of the Tiger” finds James bringing rare braggadocio to a propulsive track with growling synth lines and a hunger for whatever comes next. And then there’s the closer, “Last Call at the Mudd Club,” which with its upbeat energy and string of Stevie-inspired pickup lines, evokes the sort of unabashedly elated track the DJ throws on at 3:56 a.m. before everyone is kicked out. “I wanted to leave the album on that note,” says James. “If this was a night out in New York, this would be the last thing you hear before you get in that taxi and go back to your apartment.” Or, perhaps, back to 2025.

"Max Knouse’s voice feels like laughter that follows a well-loved joke. Only afterward, it dawns on you that you don’t fully understand the punchline. Or for that matter the set up. In fact, you’re not even sure what language the joke was told in. What to make of such a laugh—inexplicable, delightful, surprising, seemingly nonsensical? And what to make his voice, at once comforting, beguiling, and just beyond the bounds, like a blues moan or a Mingus lick or some ancient guttural holler? It’s the kind of haunt that lingers long after the record fades, echoing back in your imagination, laden with cryptic possibilities and occulted meanings.

Chipmunk’d Away is his third album. Known for his sessions and live shows with artists like Califone, Jolie Holland, Adan Jodorowsky, Psychic Temple, Simon Joyner, Alex Dupree, and others, Knouse has established himself as an essential factor in the West Coast indie pop underground, brandishing guitar chops that mirror the rawness of his voice; he treats his instrument like a divining rod of spiritual tension and joyful racket, pushing and pulling on it with affection and sometimes something darker.

From the swelling cosmic folk of “Mint and Tobacco,” which features Knouse intoning apocalyptically over engineer Michael Krassner’s washing guitars, “Your breathing ain’t so deep,” to the jazz standard swooner-meets-West Coast psych-pop title track, to the nightmare-scape blues of “Clumsy Hunter,” to the concluding audio collage sway of “Banana, Orange, and Something Else,” Chipmunk’d presents the range and scope of Knouse’s style: bold, adventurous, frightening, and then frequently, when you least expect it, heartbreakingly lovely, like a joke that clarifies your feelings before you could actually verbalize what those feelings even are. They had been hidden from you, chipmunk’d away, but now Max Knouse has revealed them."

2 x orange-marbled vinyl im Gatefold, 19 songs inkl. Live tracks & Remixen

This year marks the 30th anniversary of Take That’s iconic third studio album, Nobody Else. Originally released in 1995, the album featured hit singles like ‘Sure’, ’Back for Good’ and ‘Never Forget.’ To celebrate this milestone, Nobody Else is being released on vinyl for the first time ever! Available in several formats, this special release includes a Deluxe Edition of the album on double Marbled Orange vinyl and CD, as well as the original album on Translucent Pink (exclusive to the Take That online store) and Black vinyl. The 2LP Deluxe and 2CD formats feature exclusive bonus content, including the rare Japanese edition bonus track ‘All That Matters to Me’, live recordings from the 1995 Nobody Else Tour, and a brand-new remix of ‘Hanging Onto Your Love’ by Howard Donald. Marketing.

Norwegian electronic pioneer Lindstrøm returns with Sirius Syntoms – seven tracks of melodic, cosmic disco and shimmering synth grooves. This album marks a more focused and open sound than his previous work, with warm analog textures, pulsating rhythms, and hypnotic basslines at the core.



Combining the uplifting energy of house and the introspective tone of ambient synth music, Sirius Syntoms blends dancefloor elegance with emotional depth. The lead single “Cirkl” sets the tone for a record that’s both refined and playful.


This is also the relaunch of Lindstrøm’s Feedelity label, with artwork by longtime collaborator Ole Martin Lund Bø. For fans of cosmic disco, nu-disco, synth-driven house, and electronic explorations with heart and soul.

Early works and first release from Bastian on legendary Acid Orange Sublabel Tanjobi Records from Berlin. Has become more increasingly hard to find the past couple of years since it's been rediscovered by a new generation of DJ's. Perfectly executed tracks in the same vein as Khan and the Cologne posse. If you know you know!!

Re-Release auf transparent orangenem Doppel-Vinyl

It’s time to celebrate an incredible decade in pop music – and with so many huge hits to choose from we had to make this a 100 track selection across 5 CDs – including more than 40 #1 singles… immerse yourself in rock, glam, disco, punk, new wave, soul, easy listening and pure pop gold … ‘NOW That’s What I Call The 70s’! Also available as 46 tracks on 3-LPs pressed in suitably 70s wallpaper favourite colours – one for each disc – orange, beige and brown – and including an amazing 20 #1 singles

Get Sunk ist eine Ode an das Unendliche. Es bringt mit dem Pinsel gestrichene, verschwommene Erinnerungen an die Oberfläche, die sich zu einem Haufen von Farben und Verbindungen anhäufen, der sich über
die Individualität hinaus in eine endlose Veränderung erstreckt. Unter Wasser bewegt sich alles in Zeitlupe,
und Matt Berninger sah seine kreative Stimme mit der Strömung entgleiten. Aber manchmal müssen wir
ertrinken, um uns daran zu erinnern, wie man atmet. Get Sunk ist das reinigende Einatmen. Es ist der
Anblick des wogenden Spiegelbilds im Wasser und die Erkenntnis, dass man nicht man selbst ist ohne
tausend andere: Eltern, Freunde, Geschwister, Ehepartner und Ex-Freunde, College-Mitbewohner, beste
Freunde aus der Kindheit, Cousins und Cousinen, sogar Fremde - all das macht den Geist des Erzählers von
Get Sunkaus. Berninger wollte herausfinden, warum er liebt, was er tut, und es ist der kollaborative Geist
des Albums und die lockere, sich entfaltende Haltung, die Berninger aufblicken und die Wärme in seinem
Gesicht spüren ließ. Wenn wir in uns selbst versinken, stellen wir oft fest, dass wir eigentlich mit anderen
schwimmen.

Dune: Prophecy is an HBO original series based on the
best-selling books by Frank Herbert and Brian Herbert, and a spin-off to the blockbuster movies of Dune.

The music for the series was composed by Academy Award-winning composer Volker Bertelmann (All Quiet on
the Western Front, Conclave, Lion), whose evocative, futuris- tic ambience, meets bold, powerful orchestral tracks on this score, accompanying the story.

Set 10,000 years before the ascension of Paul Atreides, Dune: Prophecy follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fa- bled sect that will become known as the Bene Gesserit. Dune: Prophecy is inspired by the novel “Sisterhood of Dune”, writ- ten by Brian Herbert and Kevin J. Anderson.

The soundtrack of Dune: Prophecy is available as a limited edition of 1000 numbered copies on orange “Spice” marbled vinyl and includes a 4-page booklet with pictures from the series.

Ambient explorers SWIMS unpeel another heady debut, with the maiden effort by Korean artist Soo Kyung Kim, also known as soo:k. The curtain raises on Orchadia with an elysian glow: electro-acoustic compositions painting a golden topography of impossible fruit and uncanny astronomy.

soo:k's utopic brushwork finds obvious comparisons in the work of Hiroshi Yoshimura, and his meditations on the glacial pace of hidden, verdant spaces. Frida Kahlo's portraits of everyday life, intertwined with pain and magic symbology, also resonate in the album's exploration of fleeting moments.

Dissonance and experimentation take hold as the record progresses, Soo's Edenic vision creaking open to reveal ripe, fetid spaces between ribs of earth. Recommended if you like Ulla, Kara-Lis Coverdale, Visible Cloaks, Perila...

Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.

What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.

Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX

Peletronic comes back on Fortunea Records with another great 4-tracker! After his successful Hazy Jane EP and the broken beat contribution ‚Goldfinch’ on the latest 10 year anniversary compilation, he delivers us four brand-new contemporary and intensive cuts on here. Restless, the title-track of this record, is a sub driven deep house work out with boasting swelling loops and an irresistible vocal sample. Afterwards dreamy acid lines and energetic drum patterns prepare you for several ‚Timeless Travels’. ‚Malibu Orange’ on the B-side captures the elusive late-hours in the morning. And the record ends with the minimal flamboyant beats of ‚1160 Dub'. A lovely homage to his favorite district in the Austrian capitol. The Restless EP will come out on the 23rd of may. This record is limited to 200 copies. There will be no repress!

NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!

Orange vinyl edition (Limited copies)

Unreleased extras from the critically-acclaimed 'Memorial Waterslides' album sessions. "These songs are outsiders: when working on the overall listen of the Waterslides album we found they didn't fit in with the journey we'd envisioned through it, but put together on a single like this they work like magnets - polar opposites joined." MEMORIALS - Verity Susman (Electrelane) and Matthew Simms (Wire). A simmering cascade of sound, pressed on neon orange vinyl. Two exclusive tracks that extend their esoteric musical palette, a journey through psychedelic rock, far-out folk and wild analogue electronics. "A work of inspired joy." The Wire" - 500 copies pressed on neon orange for ww RSD 2025

Wallace & Gromit: Vengeance Most Fowl is a stop-motion animated Netflix film released in 2024. It was directed by Nick Park, creator of Wallace & Gromit,

and met with critical acclaim. The movie received two BAFTA awards and was also nominated for an Academy Award.

The music was of the film was composed by Emmy nominated composer Lorne Balfe (known for his work on The Dark Knight, Iron Man, The Lego Batman Movie and

Sherlock Holmes) and by BAFTA-nominated composer Julian Nott (known for his previous work on Wallace & Gromit).

Wallace & Gromit: Vengeance Most Fowl is available as a limited edition of 750 numbered copies on orange

coloured vinyl and includes a 4-page booklet with an exclusive drawing by director and creator Nick Park.