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Arny Margret, Iceland’s remarkable and poetic upcoming singer-songwriter, is due to release her second album ‘I Miss You, I Do’ on March 7th via One Little Independent Records. The follow-up to 2022’s celebrated, minimalist folk debut ‘they only talk about the weather’ sees her working with new producers in America to develop and hone a sound that’s more textured, expansive, and mature.

‘I Miss You, I Do’ incorporates sessions from Arny Margret’s trips to New York City, North Carolina, and Colorado, as well as those recorded in Iceland. During extensive international touring, she wrote prolifically and spent time getting to know producers and musicians who each brought their own unique and individual talents to the project. Arny’s atmospheric and introspective material has been layered with country-inflected full band ensembles, keys, banjo, harmonium, slide guitar and more, adding an ambience that only enhances her natural ability to convey crystal-clear imagery within thematically rich writing.

In pursuit of her creative vision, Arny enlisted producers Josh Kaufman, Andrew Berlin, Brad Cook, and Guðm. “Kiddi” Kristinn Jónsson. Josh Kaufman is best known for his work with Grateful Dead founder Bob Weir, The National, This Is The Kit, Hiss Golden Messenger, Josh Ritter, and The War on Drugs. Andrew Berlin, GRAMMY nominated for his work on Gregory Alan Isakov’s record ‘Evening Machines’, also mixes national punk rock staples such as A Wilhelm Scream, Rise Against, and Teenage Bottlerocket. Brad Cook served as a producer for Bon Iver, Big Red Machine, Waxahatchee, Hand Habits, Kevin Morby, and Whitney amongst others. Arny also returned to Iceland to record with her long-time collaborator and friend Kiddi Jónsson in Reykjavík, Iceland.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

If the sanguine cedar scent of Cosmic Americana and the bright jingle jangle of Neo-Psych Rock has led you through the last couple of years, then chances are good you’ve had a brush with Silver Synthetic. The members of the New Orleans band ditched the dirtier riffs of their past projects (Jeff The Brotherhood, Bottomfeeders) for a West Coast curl that balanced country twang and honeyed harmonies with a rhythmic stomp that fishtailed through the speakers with glee.

An eponymous full length on Third Man fully distilled the scope of their sound, turning stage-battered ballads and barroom burners into one of 2021’s most promising debuts. They return for a second salvo, honed with a tour-tight symbiosis and some ace drop-ins from southern slingers Luke Schneider (pedal steel) and Rex Gregory (sax, flute). Rosalie finds Silver Synthetic refining their sound, softening their approach, and letting a breeze of ‘70s AOR weave among the country swagger. Between the tanned riffs, the band also balances societal burnout with sunshine, transforming scoffs and sneers into smoke-curled sighs draped in a windows-down aura.

They make their way to Curation Records for the new outing, a welcome home for the band’s sun-streaked Americana, turning ‘Preflyte’ Byrds, JJ grooves, beach-bound Neil, and ‘Water of Love’-era Dire Straits into an album that smooths the seams and steers the listener towards new horizons.

Nothing” is Swedish award winning reedplayer Thomas Backmans third album. International press have earlier described his music as ”Crime Jazz” and ”slow burn yearning widescreen chamber pop”. On this album the influences of chamber music might be a little bit more prominent, but still on a deep foundation of jazz, you can hear artpop and hiphop-influences. Aside from Backmans own band, the album delivers performances from stringquartet, choir and Baltimore-rapper Eze Jackson.

”Nothing” gives you an unpredictable journey from the first to the last note.

Stockholm-based reed player Thomas Backman have with his 2 previous soloalbums explored the boundaries of jazz. The seamless mix of bebop, freejazz, chamber music, hiphop, shoegaze etc have taken him and his band to important venues in Europe and the US. The previous album ”When Light Is Put Away” was awarded ”Best Jazz” at the Swedish Manifestawards in 2022 as well as a second position in the critics poll of worlds oldest jazz magazine ”Orkesterjournalens” prestigious ”Golden Record” the same year.

Two of folk’s most fearless innovators, Lisa Knapp and Gerry Diver, join forces for Hinterland—a captivating 9-track journey that reshapes English and Irish traditions into something bold and breathtaking.

Featuring richly layered vocals, wide ranging instruments and powerful storytelling, the album explores themes of nature, history, place and folklore and winds an evocative thread through tradition and contemporary folk. Standout tracks include the atmospheric ‘Hawk & Crow’, the rhythmic ‘Train Song’, and the eerie ballad, ‘Long Lankin’.

Hinterland enchants listeners with a fusion of emotive vocals and intricate instrumentals, delivering a seamless blend of the familiar and the unexpected.

Crouching Tiger, Hidden Dragon is a 2000 wuxia film directed by Ang Lee. Taking place in 18th-century Qing dynasty China, the story revolves around a warrior who gives his sword, Green Destiny, to his lover to deliver to safe keeping, but it is stolen, and the chase is on to retrieve it. The film was praised for its story, direction, and cinematography, and for its martial arts sequences. It won the Academy Award and Golden Globe Award for Best Foreign Language Film. The score was composed by Tan Dun, containing many solo passages for cello by Yo-Yo Ma. The track “A Love Before Time” features Coco Lee. This album is released as a limited edition of 750 copies on translucent red vinyl.

"A Blade Because A Blade Is Whole" is the latest album from London-based composer-poet-activist-improviser Alabaster DePlume, his first major work following 2022"s "Gold" and 2020"s "To Cy & Lee: Instrumentals Vol 1". The 11-song album covers all of DePlume"s musical touchstones: lush and gentle instrumentals informed by ghostly ancient folk melodies; groove-focused rhythm explorations as a bed for self-searching spoken declamations; sweeping and beautiful string arrangements (in this case by Macie Stewart) set against his trademark vibrato-infused tenor sax whispermoan.

"A Blade Because A Blade Is Whole" is the latest album from London-based composer-poet-activist-improviser Alabaster DePlume, his first major work following 2022"s "Gold" and 2020"s "To Cy & Lee: Instrumentals Vol 1". The 11-song album covers all of DePlume"s musical touchstones: lush and gentle instrumentals informed by ghostly ancient folk melodies; groove-focused rhythm explorations as a bed for self-searching spoken declamations; sweeping and beautiful string arrangements (in this case by Macie Stewart) set against his trademark vibrato-infused tenor sax whispermoan.

Long time friend of the label and Stones Throw alumni "Rejoicer" joins forces with longtime collaborator, fellow Apifera band member and renowned pianist Nitai Hershkovits to present a new moniker and concept piece "Cinema Royal" - a delicate yet audacious album that quietly commands attention.

Sofia Kourtesis has announced that she will release her new EP Volver on 1 August via Ninja Tune. Along with the announcement she has shared lead single ‘Unidos’ which is made in collaboration with Daphni (aka Dan Snaith aka Caribou), the first ever Daphni collaboration track.

Speaking of the single Sofia says:
“Unidos is about the power and beauty of how much stronger we are together. I always admire the light and the beautiful shine of Dan, he is a hero and he is so generous without making a big fuss about it”

While Daphni says:
“Sofia sent me a demo of this track that she’d been working on and it was immediately evident that it was a massive track. To be clear, all the good ideas in this track are Sofia’s I just added some drums and pumped up the arrangement”

Speaking of the Volver EP Sofia says:
“In the Volver EP I am paying tribute to all the LGBT+ community and all the amazing trans women that I was lucky to meet through the course of the last few years. Their bravery and existence in a world full of hate and danger, they find a way to bring the lights to the most vulnerable communities, specifically those that are behind the walls of terrible corruption in the Latino America Security and Health System.”

The EP recording itself she describes - in keeping with its title - as like a Pedro Almodóvar movie: a chaotic, painful but ultimately joyful experience, as she worked across her twin homes in Germany and Peru with dramatic changes occurring all the time. Across this process Sofia was touring the world, playing bigger and bigger shows, working with local communities in Germany and South America, navigating the continued care of her mother, and even decided to throw beginning to study medicine into the mix.

This has always been what makes Sofia such a special artist - there is so much living crammed into every inch of her music. Here she builds on that, her intoxicating spirit more present than ever.

Western Skies Motel, das Instrumental-Musik Projekt des Dänen René Gonzalez Schelbeck veröffentlicht sein viertes Album 'Trails'. Seine Musik wird oft als „Ambient Americana“ beschrieben, widersetzt sich jedoch einem so simplen Etikett. Sie ist eindrucksvoll und atmosphärisch und hat zweifellos musikalische Gemeinsamkeiten mit Künstlern wie Arvo Pärt, Daniel Lanois, den Soundtracks von Nick Cave und Warren Ellis, Grouper, William Basinski und sogar mit dem düsteren Americana-Drone-Rock von Earth, wie René es prägnant ausdrückt: „Ich mag Einfachheit. Weniger Noten und längere Noten.“

Die Grammy-nominierte Künstlerin, Produzentin und Labelchefin TOKiMONSTA bringt ihr neues Studioalbum "Eternal Reverie" an den Start. Neben der unwiderstehlich eingängigen, Samba-inspirierten Dancefloor-Hymne "Corazón / DEATH BY DISCO PT 2" ist der R&B-Tune "On Sum" mit Tokis langjährigem Kollaborateur Anderson .Paak und der aufstrebenden Neo-Soul-Sängerin und Rapperin Rae Khalil eines der Highlights. Die Stimmen der beiden Vokalisten verweben sich nahtlos in TOKiMONSTAs typische Beat-Rhythmen und üppige Synth-Akkorde und ergänzen sich gegenseitig in ihren gefühlvollen Kadenzen – eine Meisterklasse des klassischen Duetts.

Die aus Australien stammende und in Berlin lebende Schlagzeugerin und Perkussionistin Eilis Frawley veröffentlicht am 07.03.2025 ihr Debütalbum 'Fall Forward'.

Co-produziert von Eilis Frawley und Kat Frankie, ist 'Fall Forward' ein kaleidoskopartiges Geflecht aus Kraut, Hip Hop, Spoken Word und Indie. Mit Texten, die über Jahre hinweg in Flugzeugen, Zügen und Bussen geschrieben wurden und persönliche Geschichten von Nostalgie erzählen, von einer bestimmten Vorstellung von Zuhause, von psychischer Gesundheit und von Beziehungen zwischen allen Arten von Menschen.

Eilis Frawley ist eine klassisch ausgebildete Musikerin. Neben ihrer eigenen Musik spielt und spielte sie Schlagzeug für Künstler*innen wie Anika, Laura Lee und The Jettes sowie für ihre eigenen Bands Kara Delik (türkischer Post-Punk) und Restless (Noisy Punk). Eilis ist die Gründerin von Bang On, einem Festival in Berlin, das sich der Diversität und der lokalen Musikszene widmet.

- Ltd. Col. LP: (Recycled Colored Vinyl)

The Roxies sind eine vierköpfige Punkrock/ Powerpop-Chimäre aus Berlin, die nach ihrem tollen Debüt "Don"t Wanna Dance Because I"m Told To" das 2022 auf Dirt Cult/ Family Spree erschien, jetzt ihre noch viel smartere neue Scheibe vorlegt! 12 Songs, die absolut souverän 60s Pop, Bubblegum-Vibe, RnR und 70s California Beach Punk in sich vereinen. Das hat eine dermaßen mitreißende Frische und die Songs werden so lässig runtergekloppt, dass man einfach nicht still rumstehen kann. Die Tracks fahren mit garagigen Gitarren-Licks auf, liefern poppige Harmonien, knackig groovendes Drumming und absurd coole Basshooks. Dabei werden sie auch immer mal wieder melancholisch und versprühen vor allem eine musikalische Tiefe, die wie eine Kombination aus The Nerves, Clorox Girls und B52s daherkommt. Eine britische Note on top (Kinks und Buzzcocks lassen grüßen) verdanken The Roxies wohl ihrem aus Yorkshire, UK stammenden Sänger Matthew, der regelmäßig von obercoolen Backingvox und gelegentlichen Vocal-Einsätzen von Bass-Dame Imke unterstützt wird. Ingenius stuff!

Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard

"Belgians most hidden melodic black/death metal jewel SLAUGHTER THE GIANT will release their follow up to their successful album ""DEPRAVITY"", this time through Swedish upcoming label AT DAWN RECORDS. ""ABOMINATION"" is a six-track mini album. Their music embodies a captivating blend of modern and old school melodic black/death metal from both Scandinavia and America. Reminiscent of bands like The Black Dahlia Murder, Dimmu Borgir and Necrophobic to name a few."

"Belgians most hidden melodic black/death metal jewel SLAUGHTER THE GIANT will release their follow up to their successful album ""DEPRAVITY"", this time through Swedish upcoming label AT DAWN RECORDS. ""ABOMINATION"" is a six-track mini album. Their music embodies a captivating blend of modern and old school melodic black/death metal from both Scandinavia and America. Reminiscent of bands like The Black Dahlia Murder, Dimmu Borgir and Necrophobic to name a few."

Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian

This pressing of the 7" is on clear vinyl with an etched label. Non-Returnable.

Recorded: November 1981

Ian MacKaye vocals
Eddie Janney guitar
John Falls bass
Jeff Nelson drums

Balance and Composure machen 2013 da weiter, wo sie mit dem Debut Separation zwei jahre zuvor aufgehört hatten. Wieder einmal die Grenzen ihrer Musik auslotend, mit treibenden Riffs und intensivem, leidenschaftlichem Gesang auf dem damals zweiten Studioalbum "The Things We Think We're Missing". Es ist die Art von Album, die den Hörer zum Innehalten und Nachdenken anregt und Momente des Glücks und der Traurigkeit im Laufe von 13 Songs bereithält. Bei Erstveröffentlichung erreichte The Things We Think We're Missing #Platz 51 der Billboard 200 und wurde von mehreren Publikationen als "eines der besten Alben des Jahres" gelobt. Nach Alben auf No Sleep/Hopeless und Vagrant hat sich die Bnad nach einer Pause im Jahr 2023 wieder zusammengetan und veröffentlichte ihr viertes Studioalbum im Oktober 2024 auf Memory Music (Run For Cover). B & C können laut sein, leise und alles dazwischen. Eine ziemlich treffende Beschreibung, wenn auch etwas heruntergebrochen.Ein sound-ästhetischer Angriff, der Einflüsse wie Sunny Day Real Estate, Neutral Milk Hotel und Nirvana offen legt, seit 2011 sind Balance and Composure als einer der vielversprechendsten Underground-Rock-Newcomer im Segment Punk/HC präsent! Für Fans von Citizen, Turnover, Tigers Jaw, Touché Amoré, Sunny Day Real Estate.... - Neue 2025er-Pressung auf hell-rosa Vinyl!

A valentine for black hearts! An electric array of magic sounds! The shock return of a missing legend! The surprise formation of HOUSE Of ALL by five former members of The Fall was bound to provide some pleasant surprises, not the least of which being the creation of an identity distinct from that of any specific Fall line-up, and here the band offer an steep evolution of sound of their two previous albums . . . darker, more elliptic and can we say it? A more mystical sum of talents than most groups ever manage. They've kept their open door policy to former members of The Fall and expanded it. Phil Lewis, who's stepped in live for Pete Greenway, makes his studio debut, and the long-lost Karl Burns has emerged from his mystery lair to add a third set of drums to the line-up . . . besting The Glitter Band by 50%! How this will work live has yet to be determined, but the band has already scheduled dates in Spring, 2025. House Of All Souls is somewhat more psychedelic than its predecessors, and despite seven players, each with his own particular style, the songs and production are shockingly cohesive. From the breakneck pace of first tune, Tempest And Storm to the superb album closer, Born At Dawn And Dead At Sunset, there's quite a lot to unpack - it's an album-lover's album, each track magnificent in its own way and impossible for us to pick a fave from the lot of 'em. Plenty has been written about The Fall, whose 50th birthday is just a few years off, but rare is the group with an equally perverse and persuasive influence in that period. When HOUSE Of ALL debuted, Martin Bramah remarked on it being "part of the Fall family continuum" - a matter of actual fact, given the pedigree of its members. With this, HOUSE Of ALL's third full-length album, it's proven fact that the bright lights of those multiple talents behind the band have yet to dim.

BENMONT TENCHs neues Album The Melancholy Season ist sein zweites Soloalbum nach vier Jahrzehnten an den Keyboards bei Tom Petty and the Heartbreakers. The Melancholy Season erschien bei Dark
Horse Records und ist Tenchs wahrer Einstand als Singer-Songwriter, ohne Kompromisse oder Zweifel. Es
wurde von Jonathan Wilson produziert – einem gefeierten Singer-Songwriter und Tourgitarristen von Roger
Waters, der an karrierebestimmenden Alben für Dawes, Father John Misty und Margo Price gearbeitet hat.
Die Kern-Studioband des Albums bestand unter anderem aus Taylor Goldsmith von Dawes an der Gitarre,
Sebastian Steinberg von Soul Coughing am Bass und Wilson am Schlagzeug, mit Beiträgen von Jenny O.
und Sara Watkins. Tench „könnte nicht glücklicher sein“, ein Zuhause für The Melancholy Season bei
Dark Horse Records gefunden zu haben, und sagt, es sei „ein Label, das mich emotional berührt. Und sie
haben die Musik von George, Cat Stevens, Joe Strummer – das sind Autoren. In dieser Gesellschaft zu
sein, ist perfekt.“

Das Debütalbum „A Hometown Odyssey“ des aufsteigenden Sängers, Songwriters und Produzenten Livingston ist nun auf Vinyl und CD verfügbar. Der Alt-Pop Phänomen bringt upbeat und uplifting Sounds
mit schweren Drums und hypnotischen Klängen zusammen. Im Anschluss an den digitalen Release am 8.
März 2024 konnten Fans das Album bereits live auf der anschließenden, ersten US-Tour “A Hometown
Odyssey Tour” des Künstlers erleben. Das Album feiert seither über 100 Millionen Streams bei Spotify
und chartet auf Platz drei der Global Charts. Besonders „Last Man Standing“ und „Shadow“ stechen als
Fan-Favoriten heraus. Im Juni erst wurde Livingston als YouTube’s “Artist On The Rise” vorgestellt, womit
YouTube recht behalten soll und Livingston mit seinen Lyrics in „Look Mom I Can Fly“ zustimmt: “Make
me believe I’m gonna reach the clouds, ‘cause I just wanna feel alive, look mama I can fly!”

Brahems musikalisches Verständnis mit Holland – erstmals auf dem Album Thimar von 1998 festgehalten
– ist inzwischen legendär. „Daves Spiel verleiht mir Flügel“, sagte Anouar – eine Beobachtung, die sich auf
dem Album wiederholt bestätigt. Django Bates’ Klavier, durchweg eine wichtige begleitende Kraft, steuert
wirbelnde Soli bei. Das Album markiert das erste Mal, dass Anouar ein Violoncello in eine Formation
einbaut. Anja Lechner, die eine stimmführende Rolle in der Aufnahme einnimmt, ist seit langem mit
Brahems Kompositionen vertraut und hat sie u.a. in ihr eigenes Konzertrepertoire aufgenommen. Ihr
Cello hat hier das erste und letzte Wort. After the Last Sky wurde im Mai 2024 im Auditorio Stelio Molo
RSI in Lugano aufgenommen und von Manfred Eicher produziert. Das Album erscheint pünktlich zur
Europatournee des Quartetts mit Konzerten in Frankreich, Deutschland, den Niederlanden, der Schweiz
und Belgien

Der charismatische italo-französische Sänger, Gitarrist und Mundharmonika-Virtuose lässt sich für seine
Alben gerne Zeit. Auch auf sein jetzt erscheinendes drittes Blue-Note-Werk haben die Fans lange gewartet.
Auf intuitive Weise vereint Charles Pasi Elemente verschiedenster Genres, ohne dabei jemals beliebig zu
werden. Dass er dabei ein begnadeter Sänger und Mundharmonikaspieler ist, der Pop- und Blues-Songs
mit einem Spritzer Jazz beherrscht, gibt seiner Musik die richtige Würze, um neben den Fans auch Musikerkollegen von Archie Shepp bis Maceo Parker zu begeistern. Auch ein Konzert von Charles Pasi sollte
man sich nie entgehen lassen.
Sein neues Album „Adamas“ ist wieder ein facettenreiches, emotionsgeladenes Album geworden, gespeist
aus den Erfahrungen der letzten Jahre, in denen es markante persönliche Verluste in seinem Leben gab.
Als Single gab es vorab den Titel „Addict“ zu hören, trotz des dunklen Themas Abhängigkeit ein luftiger
Gitarrentrack mit lässigen Vocals und starker Hookline. Die restlichen Songs des Albums halten mit diesem
ersten neuen Lebenszeichen locker mit.

Limited amount of part 42 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH011. Generic black sleeve.

Take A Look At God's Face is the soundtrack to the 2022 acclaimed film of the same name by award
winning writer/director Jack Laurance: a short and true story about revenge, lost love and exotic animals.
Sulk Rooms is the musical project of prolific composer/producer & live performer Thomas Ragsdale.
Thomas' brand of 'luminescent electronica' soars majestically through a wide range of much-loved
electronic albums, including equally excellent work under the moniker Ffion

"Try It' was the first of just four singles that London-based quintet The Attack released in their brief but brilliant career, and the only one to feature original drummer Alan Whitehead, who left shortly after this to join Marmalade. The A-side was also recorded by acclaimed US Garage Rock band The Standells, but it is the self-written Hammond organ driven B-Side 'We Don't Know' that gets fans of great '60s Pop excited, which might explain why they are willing to pay £300 for an original copy. Guitarist and singer Davy O'List left The Attack a few months later, and had a brief spell deputising for Syd Barrett in Pink Floyd, before forming The Nice with keyboard player Keith Emerson.
"

"The one and only single from Manchester band The Score was first released by Decca Records in November '66; if it is possible to improve upon a Beatles original then the twin guitar attack of Ken White and Frank Davies make this cover of the famed February '63 No. 2 a very strong contender. The raw delivery of singer Eddy Lamb is carried along by a bass line that nods to a more recent Fab Four release, 'Taxman', while the song's coda tips a hat to a Rolling Stones' hit from a year earlier. Things get even more exciting on the B-Side, where The Score turn in a blistering performance of Chuck Jackson's Northern Soul floorfiller, 'Beg Me', a favourite in clubs like the Twisted Wheel, and still popular with today's discerning Mod crowd, who have been known to part with £250 for an original copy.
"

"Formed by Brandon Hagen (guitar, vocals) and Drew McDonald (drums), and later joined by Zack Abramo (bass), Vundabar have always been imbued with a fiercely independent spirit, their sound forged in mythical underground Brooklyn venues such as Silent Barn and Shea Stadium. Musically, they exist almost as a fever dream of many genres, melding arty post-punk, tangled math-rock, sun-dappled surf-guitar, shimmering jangle-pop and grunge scuzz into sharp, compact songs. Across six albums the band have netted them a wide fan base and a reputation for a killer live show, not to mention a platinum record for their song 'Alien Blues'. "

Hello Softies,
Too Slow To Disco NEO is back with a (mellow) bang

A colored, strictly limited teaser 12 Inch featuring two exclusive new tracks:
Side A - a warm, lazy dub-disco track by L.A.'s electronic-slow-disco musician TURBOTITO
Side B - a funky Vibes4YourSoul Remix for mysterious New York artist 1-900.

Both tracks will be released on our sister label Too Slow Too Disco NEO, invented by Dj Supermarkt for modern, warm Sunset Disco.

Side A is also the first track from our upcoming summer compilation THE SUNSET MANIFESTO 2.
(featuring exclusive tracks/remixes by Poolside, Young Gun Silver Fox, Prep & Eddie Chacon, Woolfy, Lovetempo, Joel Sarakula a.m.m.
Side B will exclusively be available only on this 12 Inch

The tracks take the listener on a warm trip into a modern, laidback electronic sunset disco land, where groovy Westcoast-vibes meet dreamy Balearic sounds, mixed with a modern Nu-Disco/Daytime Disco style.

Enjoy your bottled sunshine (responsibly)!

2025 marks the return of Cologne-based electronic outfit Urban Homes with their first new music in over eight years, following an unintentional hiatus driven by side projects, relocations, the pandemic, and the unpredictability of »life.« After over eight years, the duo is back with their first new material: a fresh batch of purely instrumental downtempo and dub-influenced tracks, marked by a somber and atmospheric vibe that distinctly separates this new material from their previous work. Inspired by themes of extraterrestrial life and the paranormal, the four new tracks compiled on the »U.F.O.« EP release were crafted during recording sessions split between Cologne and Berlin before languishing for years on neglected hard drives, finally »ripening« into their current form.

Formed in 2008, Urban Homes initially emerged as a post-punk group, debuting live in 2009. Their first release—a four-track demo tape recorded in late 2010—already hinted at an evolving sound that would soon embrace a more experimental and electronic direction. By 2011, the band swapped their live drums for a drum machine, a shift that would profoundly shape their sound in the years to follow. Over the years, Urban Homes has explored a broad sonic landscape, merging electronic production, rhythm-driven compositions, and experimental song structures. Drawing influences from early house, balearic, disco, dub, avant-garde electronica, and pop, their music continues to defy easy categorization.

In March 2013, the duo released their debut album »Centres«, earning the Pop NRW Prize for Best Newcomers that same year. Their 2016 follow-up, »Jams«, was met with critical acclaim. A love letter to dance music's roots, Jams fused pop sensibilities with open-ended experimentation, built from years of MIDI-driven jam sessions that were painstakingly edited and reconstructed. Both released by Altin Village & Mine, »Jams« was also licensed by the Japanese label Fennely / Moorworks for an exclusive CD edition in 2017. Over the years, Urban Homes supported their releases with numerous tours and festival appearances across Germany and a memorable tour of Japan in 2017.

In a bold step! Myles Sanko has taken full creative charge over every element of this project—from writing, composing, arranging, recording, mixing and producing to distribution through his own label, 213 Music.

"Let It Unfold" represents a pivotal moment in Sanko's musical journey, demonstrating his unwavering dedication to his artistic vision as an independent artist and visionary. The album provides listeners with a deeply intimate musical exploration, serving as a form of therapy that addresses past childhood traumas and empowers future dreams, all while radiating a hopeful energy.

Inspired by his love for soul, jazz, and hip-hop, and rhythmic influences from his Ghanaian roots, Sanko delicately blends these musical styles to create a unique contemporary sound. His distinct approach to songwriting enriches each track with emotional depth and authenticity, presenting a new level of artistic expression.

The album's theme of self-acceptance and self-love is encapsulated in its title, symbolising the gradual process of personal growth and healing. The creation of this album has been a therapeutic endeavour for Sanko, helping him embrace his vulnerabilities and celebrate his strengths.

Metaphon is thrilled to present this collection of 14 phenomenal electronic and electro-acoustic works by French composer Fernand Vandenbogaerde, realized between 1967 and 1984.

After his science studies Fernand Vandenbogaerde (1946) studied at the Conservatoire de Roubaix and did various classes and courses with a.o. Jean-Etienne Marie, Olivier Messiaen, Pierre Schaeffer, György Ligeti, Karlheinz Stockhausen and Bruno Maderna. He wrote analytical essays on mathematic music, in particular the work of Iannis Xenakis. Vandenbogaerde taught electro-acoustic music at various institutions and was director at the National School of Music and Dance in Blanc-Mesnil, near Paris. As a composer he wrote works for orchestra, instrumental and chamber ensembles, sometimes in hybrid form including tape and electro-acoustic configurations. He also recorded numerous tape compositions in Bourges, Paris, Ghent and at his home studio. His works have been presented worldwide on various leading festivals and events.

The compositions included in this edition are primarily tape works, meticulously recorded and produced, radical and most of all timbre oriented which makes his compositions focus mainly on sound while other parameters hardly change. In Vandenbogaerde’s own words: “What determines my pieces, at least all the ones in this collection, is that it’s the material that dictates me, that will predetermine the form”. This particular approach distinguishes him quite a bit from many of his contemporaries within the field of electro-acoustic music.

Another interesting aspect in Vandenbogaerde’s work is the integration of micro tonal scales (conceived by Mexican composer Julian Carrillo), on the compositions 'Modifications III' and the intriguing trilogy 'Drei Nachdenken über Hymnen an die Nacht'. All tracks are previously unreleased except the proto power electronics piece 'Anschlag' which was self-released in 1971 on his own Point Radiant label, as a compilation LP which also included a track by Tristan Murail.

"At the end of the day, a new one begins. Sometimes dust covers the wounded human spirits, nebulizing their ambitious world with melancholy from some far place. Today we met and melded our emotions. Improvisation is the art of becoming sound. Loose lyrics on Hollywood dreams, galaxy economy, and algorithm poetry, banned and warped in drama industrial, synth-journey-music, ghost pop, anger electronics, and analogue deserts. Improvised recording sessions for epochs where head liquefies the concrete. It’s all about fashion, now, that we have recession. Dressed to kill with murder fabrics. The anger of the machines. The happiness in their language. Inkasso & ML asked themselves"

Repress!

In the latest of a series of albums that have mirrored the exceptional story of the band itself, Cornershop return with a new album ‘England Is A Garden’ on March 6th 2020 on Ample Play Records. It is an album that strides in an upbeat fashion, to deliver a full listening experience, bringing songs of experience, empire, protest and humour, steeped in the way only Tjinder Singh would come with. Listen to a first taste of the album now, ‘No Rock: Save In Roll’, that is to say that there is not one without the other, that rock, for all its focus on death is the saviour of life. The anvil here is music itself, and a celebration of Tjinder’s birth place - The Black Country, which also gave birth to heavy metal that has gone on to influence the world to dirty rock, whether the streets are lined with pylons or palm trees, the Black Country has allowed us to see things differently. So the sound here goes back to Englands’ Midlands with two thumbs up to the feeling of hearing heavy metal from the back of a stage, as we all ride on and await the female backing vocals of our song to come in.

The industrial treasure chest of Laurent Petitgand & Thierry Mérigout Geins’t Naït unit gets a third and final archival jag, playing to a spectrum of styles from misfit tape cut-ups to sludgy grooves and trampling sidewinds of the filthiest, sickest calibre.

The three volumes mining the Geins’t Naït Archive have parsed some 40 years of work for the most potent industrial blatz, culminating in some of the gnarliest and richest tackle on this final volume. As also highlighted on releases via Vladimir Ivkovic’s Offen Music label, it’s hard to fully surmise Geins’t Naït’s oeuvre, but you kinda know it when it hits. It’s industrial, or more specifically post-industrial, in the classic sense of everything after Throbbing Gristle and their famous label; buzzing with atonality and often heavily rhythm-driven, but not necessarily built for the club. In some senses, it's adjacent to freakier ‘floors in a way shared by the likes of Bourbonese Qualk or Din A Testbild, likeminded miscreants who emerged in TG’s shadow during the ‘80s.

‘Archives 3/3’ opens with a particularly Gallic slant on the paradigm in ‘Michel’, and shells a slew of thee crankiest gear that shares a certain tone and thrust toward trippy abstraction with Anne Gillis. ‘Abstrac 2’ finds them speaking in ogreish tongues on an uncanny waltz, before dialling up the pomp with near-EBM levels of muscularity and fanfare on ‘Poiro’, and unleashing reverse-looped heck like a La Peste joint in ‘GN is Good For You’. The keening pulse and nose attack of ‘Rappel’ reminds us of CHBB, and the evil slug of ‘Hate’ feels summoned from Parisian catacombs, whilst ‘Wladimir’ stands out for its phosphorous synth burn and prototypical Él-G poetry, leaving ‘Base Cour’ to souse the senses in distortion and barnyard squabble.

Punk Slime Recordings are proud to present a new double A-sided split 7" which features the return of two of Sweden's most exciting acts Stockholm slacker pop project Magic Potion and Nora Karlsson's acclaimed lo-fi pop project Boys. The 7" features first tastes of both bands' upcoming records with Magic Potion contributing "Rest Yr Skull", their first piece of new music since last year's acclaimed debut lp Pink Gum, and Boys showcases their first ever studio recording from the long-awaited debut lp which is set to be released early next year.The split 7" is due on October 20, but expect to hear music sooner than that with "Rest Yr Skull" arriving in early September ahead of Magic Potion's EU tour supporting Chastity Belt.

HOLY first appeared in late 2014 with the Silver of Your Heart EP and soon followed it with the debut album Stabs to praise from Stereogum, Wondering Sound, The Line of Best Fit, Anton Newcombe and more. After touring the album throughout 2015, including a run in the UK around Liverpool Psych Fest, Hannes Ferm retreated to Studio Cobra in Stockholm to record the follow-up. Over 15 months between April 2016 and May 2017 he recorded All These Worlds Are Yours together with co-producer Martin Ehrencrona (Les Big Byrd, Viagra Boys), and it's a huge step forward. Leaving behind the garage pop leanings of Stabs in favour of a sound infused by the early '70s, melding Ziggy Stardust era David Bowie with Brian Eno-esque art pop and more modern psych pop in the vein Ariel Pink, it's a truly standout record. A first taste arrived with the "premonition" 7" in September, alongside a short run of UK dates. HOLY will be touring the UK in February again alongside European showcase festivals and headlines shows throughout the spring.