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John Lee Hooker is widely recognised as one of the true giants of the blues, along with Muddy Waters, B.B. King, and Howlin' Wolf. Hooker is often called the "King of the Boogie" and his driving, rhythmic approach to guitar playing has become an integral part of the blues' sound and style that perpetuated the UK's rhythm and blues scene of the '60s. Presented here is one of John Lee Hooker' s finest album, The Big Soul of John Lee Hooker, recorded in Chicago in 1962.

In a career that spanned some forty odd years, a pivotal point of success came with his 1989 album The Healer, which featured collaborations with Carlos Sanatana, Bonnie Raitt, Charlie Musselwhite, and Los Lobas. The album expanded his audience beyond the blues idiom, earning him his highest Billboard album chart success (#62) his first Grammy Award; all of this at the grand-old-age of 73. For those not familiar with Hooker's earlier work, the Big Soul of John Lee Hooker is an excellent starting point.

Die lang erwartete Rückkehr der schwedischen Dream-Pop-Romantiker. Ein verschwommener Schleier aus düsterem und fesselndem Shoegaze-Pop. Die skandinavische Indie-Pop-Band Hater beendet nach ihrem beeindruckenden dritten Album ,Sincere" ihre dreijährige Pause mit der Veröffentlichung von "Mosquito", einem faszinierenden Dream-Pop-Drama, das sich über elf packende Episoden der Selbstreflexion erstreckt. Auf "Mosquito" klingt die in Malmö ansässige Band Hater wie neu belebt - sie greift den rohen Indie-Pop-Ansatz auf, für den sie bekannt geworden ist, jedoch mit einem direkteren, ausgefeilteren Songwriting. Die Band hat ihre Shoegaze-Wurzeln zu etwas Schärferem, Melodischerem und Tiefgründigerem verfeinert. Das Album strotzt nur so vor Geschichten, in denen mythische Wendungen (Vampire, Amor, Mücken) von der traurigen Sehnsucht nach wahrer Liebe untermauert werden. Aber dies ist kein typisches Album über die Liebe, wie die Band betont, es ist eine emotionale Achterbahnfahrt, die von halb vergessenen gebrochenen Herzen und gebrochenen Versprechen, voller Qualen und Kribbeln, aber auch von Hoffnungen und Träumen für zukünftige Lösungen geprägt ist. "Mosquito" wurde in der herrlichen Abgeschiedenheit der AGM Studios in Vollsjö, Schweden, aufgenommen, mit dem langjährigen Mitarbeiter Joakim Lindberg an den Reglern und dem Bassisten Adam Agace, der wieder zum Team zurückgekehrt ist. Sie vollendeten das Projekt in Lindbergs berühmtem Studio Sickan, wobei Caroline Landahl, Måns Leonartsson, Rasmus Andersson und Adam Agace gleichermaßen zu einem Sound beitrugen, der zwischen kraftvoller Introspektion und melancholischer Erkenntnis wechselt. Immernoch "Your next Scandinavian indie pop obsession." Flood. Klares Vinyl mit bedruckter Innenhülle und DLC sowie Digisleve-CD

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

London-based Irish singer-songwriter Seamus Fogarty returns with 'Ships', his most expansive and uplifting album to date, released March 6, 2026 on limited-edition 12” coloured vinyl, CD and digital formats. Praised for crafting “magical journeys through fable and modern life and back again, often in the same song” (----- – The Guardian), Fogarty blends motorik rhythms, folk traditions and leftfield electronics into a richly detailed collection that channels influences from Tortoise to early ’90s hip hop. Following 2023’s 'Hee Haw EP,' 'Ships' is packed with poignant, funny and deeply human vignettes touching on love, loss, DIY coffins, chance encounters and the quiet determination required to keep going.
Written in the wake of 'A Bag Of Eyes' and road-tested on tour with Lisa O’Neill, 'Ships' was brought to life with an esteemed cast of collaborators including Emma Smith, Chris Vatalaro, Aram Zarikian, Joe Auckland, Leo Abrahams and Mike Lindsay. Recorded across London, St Leonards-on-Sea and Margate, and fine-tuned in Fogarty’s Walthamstow home studio, the album moves effortlessly from the urban hum of ‘Come Down To The Square’ to the romantic sweep of the title track ‘Ships’ and the defiant crescendo of closing track ‘Doer Undoer’. “There’s something strangely uplifting about this collection,” Fogarty says. “It’s more honest than anything I’ve released before.”

The first original work in 15 years since 2010's “SOLID,” the 6-track mini-album “BECOMING THE GENBAKU ONANIES” is complete!
Unshaken by the changing times and environment, accepting the passage of time, and enduring countless twists and turns, THE GENBAKU ONANIES remain
steadfast in their pride as a punk band. Between change and constancy, their unwavering, resilient will, flexible sensibility, and supple insight are truly one of a
kind. Punk rock that tears through the air pierces your soul!

NOCTURNIA

An Enigmatic Collective of Sound

Step into the depths of sound with NOCTURNIA, a captivating deep techno project that brings together the unique talents of Kenny Dahl, Lakey, Salvatore Foglia, and PWCCA. This diverse collective combines distinct influences and styles to create an unforgettable auditory journey.

Kenny Dahl is recognized for his intricate soundscapes that blend organic textures with hypnotic beats, crafting immersive experiences on the dancefloor. Lakey delivers dark and deep tracks that resonate with haunting atmospheres, drawing listeners into an emotional abyss with every pulse and rhythm.

Salvatore Foglia infuses a raw, underground edge into the mix, pushing the boundaries of sound with innovative production techniques that capture the essence of techno culture.

Lastly, PWCCA contributes an experimental touch, creating avant-garde sounds that challenge perceptions and invite exploration
of the unknown.

Together, these artists form NOCTURNIA, a space where night
meets sound, and every track unfolds a story. Whether through driving rhythms or atmospheric builds, their music invites you to lose yourself in the night, exploring the depths of your mind and the thrill of the dancefloor.

Matryoshka has already built a reputation as a producer for DJ Loser's Magdalena's Apathy imprint as well as work for the Nostalgians, an under-the-radar ambient rap collective featuring Yungwebster, Mdb, tnotsobad, Nopaprr and ogpra1. Her musical roots – dubstep, trance and hard dance – tell some of the story here, but she transmogrifies those influences into haunted, Basinski-esque memories like the gaseous traces and decelerated remnants of the club.

On album opener »Lifelover«, Burial's hazed interludes spring to mind, or perhaps the 4am cityscapes of Space Afrika's now mythical »Somewhere Decent to Live«. Background ambiance simmers below Lawson's pensive FM pads, but once she establishes the mood, things take an unexpected turn with a pitch-bent bassline that might have been lifted straight from a 6LACK loosie, and a rhythmic pulse that traces the thin red line of Shinichi Atobe. If it's dub techno, it's a strand that hasn't been codified quite yet.

»Surface Tension« uses deep, Maybach Music-coded bass womps to twist through her skittering slow rhythms and sadcore pads. But it’s Matryoshka’s harmonic instinct that stands out; if you heard the airy »otr« or »fantasize« from Yungwebster's '»II' you'll know exactly what we mean«, and she takes it even further here, weaving cinematic, languid harmonies that bridge the gap between Steve Roach and Future.

Check »Where the Dancers are Spinning« with its levitational, almost orchestral sweeps that Lawson counterbalances with thudding subs, or the brief title track, an Akira Yamaoka-style save room loop that dissipates into a dreamy, dissociated fog, for further proof. Then there's the second side's centrepiece »Parted by the Sea«, where a ratcheting Chain Reaction-style rhythm builds to a tense crescendo only to get splintered unrecognisably in the second half, its broken pieces pillowed by Lawson's billowing time-stretched chords.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 11

A1) Paul Kalkbrenner - No Goodbye (2019)

Berlin techno producer Paul Kalkbrenner became world-famous with his 2008 hit Sky & Sand. Since then, he has released one record after another and performed all over the world in the biggest venues and at the most renowned festivals. No Goodbye is one of his more recent hits, released in the summer of 2019.

The track was created using an a cappella he received on a demo tape while on tour. He was immediately inspired by the vocal and built his own sound and production around it. Interestingly, Kalkbrenner rarely uses vocals, but for No Goodbye he collaborated with Australian singer Chiara Hunter, giving the track a unique and instantly recognisable character. The result is a stylish, dance-floor-friendly track with a rolling house groove that quickly became a modern classic on dance floors worldwide.

A2) Water World - Give Me Love (2000)

This trance classic by Water World appeared in 2000 on the French label Adequat Records and is the perfect tune for a sunny summer evening. Warm melodies and pulsing beats instantly create that beach feeling, as if you were dancing with your feet in the sand. The record recalls Beachball by Nalin & Kane, sharing the same dreamy, sun-drenched vibe.

Behind Water World were producers Laurent David and Frédéric De Backer-names well known to many trance fans. In the nineties De Backer was active with projects such as Global Trance Mission (Dream Mission) and Y-Traxx, the trio that released the 1997 classic Mystery Land.

Give Me Love clearly bears their combined signature: euphoric, warm and melodic, with a timeless build that perfectly balances emotion and energy. The track was released on vinyl as part of Trance E.P. Vol. 01 and remains a fixture in retro-trance sets to this day.

B1) Panoramic - Colors (1996)

Colors by Panoramic is a Belgian trance classic released in 1996 on the legendary label XTC Records, a sub-label of Bonzai Records. Panoramic was a collaboration between Belgian techno icon Marco Bailey and Mauro Mirisola. The duo, also known under playful aliases such as The Coke Man & Sniff, released an EP featuring two powerful trance tracks.

We chose Colors, a tune with pure Belgian trance DNA: driving rhythm, dreamy synths and a catchy female vocal. The combination of Bailey's production expertise and Mirisola's creative touch resulted in a timeless track that still appears in many classic playlists.

B2) Natasha Bedingfield - Pocketful Of Sunshine (StoneBridge Club Remix) (2008)

British singer-songwriter Natasha Bedingfield released the album Pocketful of Sunshine in 2008, featuring the title track as a single. The original pop version became a major hit in North America, reaching the Top 5 in the US. Swedish DJ and producer StoneBridge (Sten Hallström) reworked the song into a groovy house version, released in the summer of 2008.

StoneBridge gave the upbeat pop tune a club-ready beat and an infectious piano riff that made it shine on dance floors worldwide. It was not his first time transforming pop into house gold-he had already achieved global fame with his remix of Robin S - Show Me Love (1992), one of the greatest house anthems of all time. He also remixed Sia - The Girl You Lost to Cocaine in 2008, another club favourite.

The StoneBridge Club Remix of Pocketful of Sunshine appeared on a special remix EP in July 2008 and was played endlessly in clubs-by us too, in the venues where we performed. The result is a timeless, sun-soaked house classic thatmakes sitting still impossible.

C1) Y-Traxx - Mystery Land (Fred Baker vs Mr Sam's Magical Mystery Dub Mix) (original release 1995)

Y-Traxx was a nineties trance project by DJs Laurent David and Fred Baker. This trance classic first appeared in 1995 as a B-side but gained real attention when it featured on a Paul Oakenfold mix album. Thanks to that success it received an official re-release in 1998 on the respected French label FFRR (Full Frequency Range Recordings).

In 2003 an excellent remix by Mr. Sam & Fred Baker followed on the Nebula label. That version is highly sought after on vinyl by trance collectors, and we are proud to feature it on our new sampler.

C2) Weiss - Feel My Needs (2018)

Feel My Needs by British producer Weiss (alias Richard Dinsdale) is the tune with that unmistakable old-school piano and catchy vocal that instantly pulls you onto the dance floor. Released in May 2018on the UK label Toolroom Records, the track is pure feel-good house with a modern touch. From the very first piano riff, hands go up in the air.

Toolroom even called it a "future anthem" for the summer of 2018, and indeed Feel My Needs became a huge floor-filler. The record charted high on global dance lists and gained massive popularity at festivals and clubs that year. With its warm piano chords, tight beat and soulful vocal, this is a modern house classic that will stay in the collective club memory for a long time.

D1) The Killers - Mr. Brightside (Jacques Lu Cont's Thin White Duke Mix) (2005)

American band The Killers formed in 2001 and scored a massive hit a few years later with Mr Brightside. Taken from their debut album Hot Fuss (2004), it became their biggest and best-known track-a true rock-pop anthem.

In 2005 the song was given an electronic twist when renowned producer and remixer Jacques Lu Cont (the alias of Stuart Price) created an eight-minute dance version titled Mr Brightside (Jacques Lu Cont's Thin White Duke Mix). This remix replaced the raw rock energy with a more progressive and electronic vibe, driven by a steady beat and long build-up.

The track found a second life in club culture and quickly became a dance-floor favourite. For vinyl collectors it was an instant must-have, and to this day it stands as the perfect party closer. The Killers themselves loved it so much that they often used the remix live as an outro, followed by the original version. A remix that perfectly bridged rock and club culture-and has since become a genuine classic.

D2) Sia - Drink To Get Drunk (Different Gear Remix) (2001)

The legendary ice-cube sleeve says it all: Drink to Get Drunk was a huge club hit in the early 2000s. Released in 2001 on the UK label INCredible, a sub-label of Sony Music, it was a collaboration between British DJ duo DifferentGear (Gino Scaletti & Quinn Whalley) and singer Sia.

The producers took Sia's original song Drink to Get Drunk from her album Healing Is Difficult and gave it a complete transformation, keeping her distinctive vocal and placing it over a hypnotic progressive-house groove.

The combination of Sia's unmistakable voice and the deep, driving production hit hard: the track became hugely popular in Belgian clubs and turned into an anthem of its time. In Belgium it even reached number one in the dance chart in early 2001, and it also performed strongly in the UK and the Netherlands.

To this day it remains a nostalgic crowd-pleaser that perfectly captures the atmosphere of the early 2000s.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as "awe-inspiring" by Glide, "exuberant" by the Los Angeles Times, and "an exciting milestone" by Pitchfork. As SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock"s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.

Cheeba’s Funky Rock Ensemble are back with two sides of funky rock breaks for hairy b-boys !

After the great feedback of their debut release 18 months ago, they went back into the studio soon afterwards to record some more slices of hip-hop orientated funky-psyche beats aimed at the dancefloor. Since then, both new tracks have been on a one-off dubplate and getting aired all over the country to an enthusiastic reception - so it’s about time we got them out there for everyone else to, like , just dig, maaaaan !

DRUG-CRAZED LONDON HIPPIES takes you down to the seedy back street clubs of late 60s swinging Soho - to the early discotheque scene and the psychedelic experience of numerous young rock groups and their fans. With heavy fuzz, funky beats and dirty flute loops this takes you straight to those hedonistic dancefloors in the early hours.

YOU WANNA RIDE ? Stays in the same era and same counter-culture, but on the other side of the Atlantic with the free festival vibe of alternative lifestyles in California. More fuzz-rock sounds, blended with heavy beats , screaming hammond and wordless female vocals to take you on a deep trip - to lose yourself in a field as the sun rises.

Emerging from a shared love of long-form storytelling and hypnotic groove, Techfui presents a stunning double album from Ada Kaleh and Wareika, a cross-continental dialogue between two singular visions of deep and micro house.
Romanian composer and sound alchemist Ada Kaleh channels his signature world of organic textures, dub-soaked spaces and slowly evolving rhythms, known from his forward-thinking work on R&S, Apollo and his own Ada Kaleh Romania imprint. His part of the productions unfolds like a ritual: subtle, detailed and endlessly spiralling, built for dancers who like to disappear inside the groove.
On the other side, trio Wareika bring their unique blend of live jazz sensibility, meditative dub and electronic body music, honed over years of improvisation and boundary-blurring club performances. Their contributions lean into fluid polyrhythms, elastic basslines and shimmering harmonies, tracks that feel alive, breathing and in constant motion.
The journey is expanded by a heavyweight remix cast: minimal house icon Thomas Melchior, Techfui founder and Bahrain mainstay Salah Sadeq, whose deep house productions are crafted to move both heart and floor, and the elusive studio force DUST. Each rework dials the hypnosis in further, stretching time and space without ever losing the warmth of the original material.
True to Techfuis ethos of bringing family, friends and fresh talent together to create honest, unconventional art, this double album is not just a collection of tracks, but a deep, carefully produced listening experience, timeless deep house and micro house for late nights, early mornings and every hazy moment in between.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

The Bottazz! logbook continues.
With this second chapter, the journey leads us through long-lasting psychedelic suites, towards unexplored territories, between funk, cinematic hallucinations, and synth lashes.
The recipe remains the same:
Live recording, involvement, and interplay between the parts in a dialogue that is never predictable and courageously open to forbidden, and therefore even more ambitious, lengths.
A cathartic album in which to pleasantly lose yourself, only to find yourself different, changed, and at peace.
Enjoy the listening experience and happy browsing.

Formed in Southend in the late 90’s, Beatglider’s tale is a familiar one taking in early acclaim only for momentum and promise to be dashed by major label statis and indifference.

After the release of the debut long-player, ‘40 Days Of Summer’, in 1999 the band signed to Sony subsidiary Lakota and decamped to LA to record its follow-up, ‘Dreaming Of Roads’, an album that was never to see the light of day.

And now, over 20 years later, ‘Dreaming Of Roads’ eventually gets a deserved release on 28th February via the Arlen label. A beautiful 11-track understated delight which musically falls somewhere between the likes of Elliott Smith, Grandaddy, Yo La Tengo and Sparklehorse, the album has not only stood the test of time, but arguably sounds as fresh as ever in 2026.
The tracklisting of the album - recorded in Los Angeles at the famed Sound City studios - is as follows:

"Lost Tracks: Accra To Addis" wurde von Afrocat zusammengestellt, seit 25 Jahren als DJ, Musik-/Kulturkuratorin, Radiomoderatorin der "Blaxploitation Lounge" (Totally Radio) und Abenteurerin tätig ist. Sie reiste nach Ghana und Äthiopien, um die Vielfalt der Vintage-Sounds zu erkunden und den Geist der ersten Revolutionsära Afrikas wiederzubeleben, in der Unabhängigkeit, Fortschritt und die Gleichstellung aller Menschen im Vordergrund standen – in diesem mitreißenden, funkigen und tiefgründigen Soundtrack, geprägt von Ethio-Jazz, Highlife, Gospel, afrikanische Polyrhythmen und psychedelischen Klängen. Aus der Idee eines Samplers entstand schließlich ein eigenes Plattenlabel: Lost Tracks Records ist unter Vertrag und hat einige fantastische Releases, internationale Live & Club-Events sowie Kollaborationen in petto. Als eine der wenigen schwarzen, weiblichen Labelinhaberinnen der Branche ist dies eine Stimme, die gehört werden muss. Freut euch auf die Entdeckung internationaler Disco-Klänge, Deep Funk, Blaxploitation, Dancefloor-Jazz und intergalaktische, afro-futuristische Klangabenteuer!

Hidden away amidst the bustle of Rio de Janeiro’s Catete neighbourhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighbourhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento’s new album VILA, a collaborative project with a sixteen piece orchestra led by trombonist and arranger Vittor Santos.

Recorded between Rio de Janeiro and Los Angeles, VILA is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos’ breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation.

Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino.

Vittor Santos is an arranger and Trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.

=====================================
Credits:

Fabiano do Nascimento – 6, 7 and soprano guitars.
All orchestral arrangements and production by Vitor Santos.
Recorded at Electro-Sound studio, Los Angeles and Estúdio Fibra, Rio de Janeiro
Engineered by Jason Hiller and Garbiel Lucchini
Mastered by Mike Bozzi

Oboe – Francisco Gonçalves
Contrabaixo – Rodrigo Villa
Drums – Márcio Bahia
Violino - Ricardo Amado
Violino – Thiago Teixeira
Violin – Daniel Albuquerque
Violin – Márcio Sanches
Viola – Ivan Zandonade
Viola – Dhyan Toffolo
Cello - Hugo Pilger
Cello – Janaína Salles
Double Bass – Rômulo Gomes
Clarinet – José Batista
French Horn – Philip Doyle
Trombones - Vittor Santos
Violin – Daniel Guedes

San Francisco–born singer-songwriter Ben Kweller returns with Cover The Mirrors, his seventh studio album — and perhaps his most personal work to date. Known in the late ’90s as a member of post-grunge outfit Radish, who were signed to Mercury Records and even counted Nils Lofgren among their fans, Kweller has since carved out a long and prolific solo career rooted in melodic indie rock and unfiltered emotion. Cover The Mirrors is a deeply poignant record, written in honour of what would have been Kweller’s late son Dorian Zev’s 19th birthday. It also marks Kweller’s first release since Dorian’s tragic passing in 2023 — an event that reshaped both his life and his music. Far from retreating into silence, Kweller channels his grief into a collection of songs that explore loss, love, and renewal with raw honesty. “This is the most personal, emotionally raw project I've ever worked on,” he reflects, and every track bears that truth. The album features an impressive roster of collaborators from across the indie landscape: Waxahatchee joins on “Dollar Store,” a sparse and arresting song built on two vocals and a guitar that eventually erupts into a distorted, soaring finale; MJ Lenderman lends his touch to “Oh Dorian,” a tender tribute steeped in warmth and melancholy; Jason Schwartzman resurrects his mid-aughts project Coconut Records for the haunting “Depression”; and psych-rock icons The Flaming Lips appear on the shimmering, otherworldly “Killer Bee.” Musically, Kweller’s craft is as sharp and sincere as ever — intimate yet expansive, stripped-down yet powerful. Cover The Mirrors captures an artist walking through grief with purpose, turning heartbreak into something both fragile and transcendent. It’s the sound of Ben Kweller looking loss directly in the eye — and finding beauty, courage, and connection reflected back. - “One of the great American songwriters” – Jack Antonoff TRACKLIST: A1. Going Insane A2. Dollar Store (feat. Waxahatchee) A3. Trapped A4. Park Harvey Fire Drill A5. Depression (feat. Coconut Records) A6. Don't Cave B1. Optimystic B2. Brakes B3. Killer Bee (feat. The Flaming Lips) B4. Letter To Agony B5. Save Yourself B6. Oh Dorian (feat. MJ Lenderman) Clear Vinyl LP

Impatience is thrilled to present Leaving Memory, the latest album-length work by Piper Spray and Lena Tsibizova. Leaving Memory is a searing distillation of the duo’s ouevre - it’s eleven prismatic electronic seances combining for a mind warping wormhole with it’s own internal (il)llogic, where pop, ambient, and industrial music convene beneath a rugged HD of digital processing and brain fog. Equally rosy with nostalgia as it is ominously forward looking, Leaving Memory defies easy categorization and makes for an astounding, confounding listen.

By turns violently abrasive and disarmingly touching, Piper and Lena deploy sounds that fracture and disintegrate, burn up and explode, synthetic supernovas that give the record an unmistakable, inimitable texture. Song structures often abide by their own blueprint - heading in one direction before making an abrupt dive elsewhere. Bursts of vibrant colour lurk below layers of grayscale noise. Unidentifiable voices deliver secret messages from the murk. When rhythm’s emerge they ground the tracks to some unknown terrain and invigorate.

Lame Line veers towards the sweeter end of their spectrum, a hazy plaintive repetition increasingly lashed with friction, before Exit erupts with clanging rhythm and shards of distortion. Diagnosis is an almost sweet alt-pop song, Lena’s vocals yearning beneath a dubby shuffle, while Keeper Of The Void’s possessed incantations open up to a ripping, fried climax. Beryl Grey releases the pressure gauge, a gently lilting drift arpeggiating as the sun sets, and Lost Cars sweats through claustrophobic drones and bird song before the clouds part on a serene scene. Leaving Memory closes with Shin, offering a genuinely sweet resolution and a gentle landing back down to earth of either footsteps or fireworks, swelling synthesized horns and woodwinds, a kiss on the cheek for making it out the other side.

On Leaving Memory, Piper Spray & Lena Tsibizova share their uniquely discordant take on freaky music for unsettled minds, an intensely energized set that offers a deeply evocative, unimaginable otherworld for adventurous ears.

Piper Spray and Lena Tsibizova have been producing music together since 2020. Leaving Memory is the first to be presented in the LP format. Piper has previously released music via Orange Milk, Hausu Mountain and Gost Zvuk, as well as his own Singapore Sling Tapes label. Lena works predominantly as a photographer, and together Piper and Lena have released music via radio.syg.ma and Kartaskvazhin. Both make music as part of Air Krew, who have released music on the Echotourist and Motion Ward labels. They’re both currently based nowhere.

Leaving Memory was written, produced and mixed by Piper Spray and Lena Tsibizova, and mastered by Sergey Podluzhniy. Cover photo by Lena Tsibizova, design and layout by Justin Sloane.

French artist Trypheme debuts on Impatience with “Odd Balade”, a darkly-hued collection of songs drawn from human delicacy and dreamworld mythology.

“Odd Balade” is Trypheme’s most ambitious and boldest record to date - both lyrically and musically. The album’s thirteen tracks resist rigid genre boundaries and flutter from medieval folk realms, sprawling synths, gothic 80s wave, leftfield pop, haunted vocals, mutant electronica to reverbed guitars - all reflected through her own shadowy prism. Especially album closer “A Walk In The Vercors” evokes a soothing serenity that echoes the sonic balm of Julee Cruise.

Trypheme’s musical repertoire trends heavily electronic and somewhat abstracted, but on “Odd Balade”, the artist slips into the role of the modern troubadour with a shift to a more poetically and personal songwriting that is infused with symbolism and dreamlike fantasies. The connective tissue of the album is the audacity to love and the vulnerability that ensues. As intimate and introspective as the lyrics are, the themes remain universal and human to the core: the fear of losing a loved one, the melancholia of leaving places and t“the fear of losing a loved one, the melancholia of leaving places and the cycles of life. The record was largely composed in Chars, stirred by the French village’s eerie atmosphere and frequent trips to the seaside in Brittany, where Trypheme resides. Drawing inspiration from the rugged terrain of the seaside landscapes, the writings of Allen Ginsberg and Mark Fisher and the hyperrealist art of Scott Prior, Trypheme uses her songs to depict life with broad strokes of rhythm.

On “Odd Balade” Trypheme consolidates herself as a gifted, nimble songwriter, masterly producer and subtly powerful vocalist. The record combines her skill for crafting lush, alien sound worlds and efficient, alluring arrangements with stealthily devastating songs. Belin’s voice becomes a key ingredient, appearing on eleven of Odd Balade’s thirteen tracks, by turns heavily manipulated, sampled and replayed as a form of percussion, or basically bare.

“Odd Balade” is the manifestation of Trypheme’s roving artistic practice, a ceremonial-grade sacrament cast in a rich nocturnal glow. Pairing the mundane with the mythic, the album stays true to its core: odd and strangely familiar.

RIYL - Riding off into the sunset to an unknown destination, hauntology, present, tales told by the fireside, hot summer rain, adventures, to feel a warm presence when you are walking in the forest or in the mountain, coastal landscapes, sailor’s stories, slow motion, vitesse, heavy blossoms, colors, the warmth of the sun, the tenderness of the moon, getting lost in unfamiliar streets, city’s lights, motorway rest area by night, magic numbers, rendez-vous, picnic, serendipity, poetry, the smell of old records and old books.

Tiphaine Belin has been releasing music as Trypheme since 2016. Odd Balade was written and produced by Belin, and mixed by Belin and Abel Roux. It was mastered by Amir Shoat. Cover art photography is by Ariane Kiks, with art direction by Ariane Kiks in collaboration with Mathilde Chaize.

Heavenly return! As fiercely independent as any punk band, but as sweetly melodic as any chart-topping act, Heavenly combine sharp-edged lyrics with shamelessly joyful pop music. The band comprises original members Amelia Fletcher, Peter Momtchiloff, Cathy Rogers and Rob Pursey, who are now joined on drums by Ian Button. An important element of the Heavenly story was the loss of Mathew Fletcher, who took his own life just before the fourth album was released. It took Amelia, Peter, Cathy and Rob a long time to get over the loss; maybe it took even longer to find a drummer as good as Ian. 'Highway To Heavenly' shares its musical recipe with the band's first four albums, all of which were released in the 1990s at a time when sensitive indie types in the UK were sheltering from the prevailing macho-rock storm under the Sarah Records umbrella, and when women in the US were starting to find their Riot Grrrl voices in the small town of Olympia, where labels like K and Kill Rock Stars were designing a new creative space. The new songs are full of anger, of grief, of empathy, of love, and set themselves in opposition to the resurgence of the cold 'masculine energy' that is making the world a miserable, aggressive place today. It's all pop here, but Highway To Heavenly has a huge range of tones and moods. Heavenly have recently enjoyed a huge resurgence of interest from a younger generation of fans, who have cottoned on to Heavenly's music, but also embraced the band's inclusive version of feminism. The new Heavenly have played a number of sell-out shows in the past couple of years, where older fans have mingled with new devotees. Still our love is Heavenly!

2026 Repress


Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.

Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.

This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.

Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...

Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.

The cool AF "Hogan Baby" has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk.

Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover". It's lightweight but still retains some nice orchestral movements. The brief “Tarantula” gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.

Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.

The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

‘Platinum Rare 1’ contains extremely rare recordings by the four original SWEET members. The legendary glam/hard rock band continues to thrill fans all over the world to this day. Over the years, SWEET have sold more than 55 million records and reached 34 number 1 chart positions. The songs on ‘Platinum Rare 1’ come from the private archive of SWEET guitarist Andy Scott and were personally selected by him. Fans of the band will be thrilled with this collection of rare and alternative takes and mixes. Many of the songs on the album have never before seen the light of day on a regular SWEET release. ‘Platinum Rare 1’ is an absolute enrichment for every true fan of SWEET.

Night Punch sind fünf Musiker aus Hamburg, die einen einzigartigen, apokalyptischen Sound zwischen Hardcore Punk, Dark Punk und kalten Synth-Elementen formen. Mit ihrem 2023 erschienenen Album "Where Sins Bloom (So Does Death)" lieferten sie eine gnadenlose, 32-minütige Klangattacke aus druckvollen Schlagzeug- und Bass-Teppichen, sägend verzerrten E-Gitarren, eisigen Synth-Flächen und wütenden Vocals, roh, kompromisslos und tief in einer düsteren Klangästhetik verankert. Seit ihrer Gründung hat sich um Night Punch, deren Identität stets in Masken zerfällt, eine treue Szene gebildet; sie veröffentlichen limitierte Tapes und Vinyls, spielen auf Festivals wie dem Get Lost! Fest und überzeugen mit intensiven, energiegeladenen Live-Shows, die den DIY-Ethos der Band unmittelbar spürbar machen. 2026 setzen sie diesen Weg mit dem Album "godisnowhere" fort: noch härter, direkter und aggressiver als der Vorgänger, ohne den eigenen Klangkern aufzugeben. Die Songs wirken dichter, kantiger und unerbittlicher, behalten aber die vertraute Mischung aus massiver Rhythmik, apokalyptischer Stimmung und nihilistischer Wucht bei. Eine weitere Eskalationsstufe im kompromisslosen Kosmos von Night Punch

Scupltures is composer and pianist Derek Hunter Wilson’s third solo album, an ode to the ancient and contested shorelines of the Pacific Northwest. Deeply embedded in place, the six longform pieces that make up the album reflect the artist’s journey through grief (including losing his father) and the passage of time, each one built upon loops created from extended sessions with harpist Joshua Ward. Like the foggy, moss-encrusted locations that inspired the album, Sculptures has a timeless feel to it, shadowed by the rumblings of a colonial system in decay.

Award-winning poet Mathias Svalina composed a poem for the album, entitled “A Dream for Sculptures”. It is reproduced on an insert that accompanies each LP.

Derek Hunter Wilson is a composer and multi-instrumentalist based in Portland. He has released two solo albums on Beacon Sound (Travelogue, 2017; Steel, Wood, & Air, 2019), as well as a collaborative album with Location Services entitled Wake (2022). In 2018 he collaborated with visual artist Gregory Euclide for his Thesis Project label, resulting in a split 10" with Spanish musician Rauelsson. He has additionally worked with poets Zachary Schomburg and Brandi Katherine Herrera for several sound and performance pieces, and has performed live on the West Coast and in Berlin, sharing the stage with artists such as Colleen, Amulets, Patricia Wolf, Pulse Emitter, and Liima.

Svarta Havet's sophomore album out in February via Svart Records Hailing from Turku, Finland, SVARTA HAVET are set to release their sophomore album Månen ska lysa din väg for the European market via Svart Records on February 27th, 2026. Originally released by the US based Prosthetic Records in May 2025, Månen ska lysa din väg casts a critical eye over the negative effects of Western colonialism, capital greed and convenience at the cost of sustainability, presenting a rallying cry for change whilst never losing sight of the light that this world has to offer. Formed in 2018, SVARTA HAVET is a self-described dyster (gloomy) post-hardcore group born from the Finnish DIY punk and hardcore scene, with the members bonding over a shared affinity for punk music and community-first ideals with a focus on antifascist, feminist, trans and queer politics.

Where their 2021 debut full-length, JORD/VATTEN, served as an introduction to SVARTA HAVET’s amalgam sound of post-metal, hardcore punk and black metal, Månen ska lysa din väg is a deftly woven together panorama of their respective influences and a captivatingly urgent political and compassionately personal case for humanity’s course correction. With communities residing at the heart of their purpose, on a localised and a broad scale, SVARTA HAVET are not ones to lay idle in their hopes of a better world. 2026 will continue to see the band both touring their home country and beyond, as well as being deeply involved in organizing gigs and events through the collectively-run venue, Kirjakahvila ("Book Cafe") – a queer feminist, anti-capitalist DIY community space in Finland. In addition to hosting local acts, the group’s tireless efforts to support international bands will continue to see SVARTA HAVET helping to foster a vibrant underground scene in the process. SVARTA HAVET is: Lotta (she/her) - vocals Joakim (he/him) - guitar Anders (he/him) - bass Jara (she/her) - drums

The 1975 veröffentlichten am 26. Februar 2016 ihr zweites Studioalbum „I Like It When You Sleep, for You
Are So Beautiful yet So Unaware of It”. Es führte sowohl die britischen (BPI Platinum) als auch die USamerikanischen (RIAA Gold) Albumcharts an und brachte sieben Singles hervor: „Love Me”, „Ugh!”, „A
Change of Heart”, „She’s American”, „Somebody Else”, „Loving Someone” und „The Sound”. Pitchfork,
Rolling Stone und The Guardian führten es als eines der besten Alben des Jahres 2016 auf. Die BoxsetVersion wurde bei den Grammy Awards 2017 für die Kategorie „Best Boxed or Special Limited-Edition
Package” nominiert.
2026 ist das 10-jährige Jubiläum dieses viel beachteten Albums. Um dies zu feiern, wird das Album
auf farbigem Vinyl (Farbe noch zu bestätigen) in einer 6-seitigen Dreifach-Gatefold-Verpackung mit alternativem Artwork und 17 12”x12”-Kunstkarten veröffentlicht, wobei jedes Kartenbild einen Song mit dem
Text auf der Rückseite darstellt.

On a Sunday in the early 70s in South LA one could asily find themselves experiencing the Pan Afrikan Peoples Arkestra doing what they do for the community, performing incredible music. "Live at Widney High December 26th, 1971" is a previously unreleased PAPA recording. It finds director Horace Tapscott conducting the band at Widney Career Preparatory & Transition Center, a special-education magnet high school in Los Angeles. The band played shows here between 1970 and "72, often sharing the bill with contemporaries John Carter and Bobby Bradford"s group, and at one point the Sun-Ra Arkestra. These weekend shows were free and meant for the surrounding Black community. On this date the PAPA performed a range of compositions from the Ark"s expansive songbook, including arrangements of tunes by Pharoah Sanders and John Coltrane.

Bettye Swann possessed one of the most emotive voices in soul music’s cannon but her recording career was that of a shooting-star; it blazed at the start, then illumined brightly before abruptly dissipating, all in just eleven years. In 1975 she ceased recording, moved to Las Vegas and retired her Bettye Swann persona.
The Louisianan Betty Jean Champion had relocated to Los Angeles as a young woman where in around 1964 she was introduced to Al Scott, owner of Money Records. It was her fourth Money 45 “Make Me Yours” that propelled Swann into the stratosphere. One of the defining songs of the era, it was her pathway to Capitol Records with whom she signed in 1968.
By 1972 Bettye was at Atlantic Records. The initial Atlantic 45 “Victim Of A Foolish Heart” b/w “Cold Day In Hell” recorded at Fame with Mickey Buckins and Rick Hall, made for a promising debut reaching #16 on the Billboard chart. It was followed by Bettye’s version of Merle Haggard’s “Today I Started Loving You Again” and “Til I Get It Right”, a gentle country-soul labour. “I’m Not That Easy To Lose” also dates from those sessions.
In an attempt to broaden her appeal Atlantic sent Swann to Sigma Sound in Philadelphia where she cut Phil Hurtt’s’ and Tony Bell’s “Kiss My Love Goodbye”, “Time To Say Goodbye” and “When The Game is Played On You”. Her fortunes continued to wane so Swann was next placed with Nashville producer Brad Shapiro. The results were artistically stellar and included three unissued gemstones in The Isley’s “This Old Heart of Mine”, a definitive version of Maxine Weldon’s “I Want Sunday Back Again”, and “Either You Love Me Or Leave Me”.

These 2 tracks were almost lost until Soul Direction in conjunction with Hoffman House Music & Triple Scale Music organised the publishing and licensing required. Soul Direction were able to get the tracks out on 45, where they need to be.

Das vierte Album und Sub Pop-Debüt von Lala Lala, alias Lillie West, ist ein kraftvoller, warmer und mit Ohrwürmern gespickter Indie-Pop-Kracher für Fans von Jay Som, Porches, Dehd, Angel Olsen und Alex G. Lillie West hat ihre Musik immer aus dem Bedürfnis heraus gemacht, ständig in Bewegung zu sein. Als sie aber kürzlich den Wunsch verspürte, sich niederzulassen, hat sie gemerkt, dass Beständigkeit Kreativität fördern kann. Diese Entwicklung ist der Antrieb für einen Großteil ihres neuen Albums "Heaven 2". Viele Jahre lang lebte West in Chicago, wo sie Lala Lala als Teil der Indie-Szene der Stadt etablierte und mehrere Alben auf Hardly Art veröffentlichte. Diese Alben, "The Lamb" und "I Want the Door to Open", waren kraftvolle Statements einer neugierigen Künstlerin: eingängige Gitarren-Pop-Songs über das Feststecken in den Höhen und Tiefen des Lebens, den Kampf, nüchtern zu bleiben, die Stadt zu verlassen, sein Leben in die Luft zu jagen. West verließ Chicago, um nach mehr zu suchen, und schrieb dabei ihr neues Album "Heaven 2". Auf ihrer Reise landete sie in New Mexico, wo sie in Taos fernab der Zivilisation lebte. "Es war sehr herausfordernd, eiskalt und voller giftiger Tiere. Aber es ist immer noch der schönste und magischste Ort, an dem ich je gewesen bin, und ich träume ständig davon", sagt West. Anschließend zog sie nach Island, wo sie zwei Jahre lang mit Unterbrechungen lebte, wobei sie die Unterbrechungen in London verbrachte, wo sie aufgewachsen war. Schließlich kam sie nach Reykjavik, wo sie sich in der Musikszene einlebte und ein Instrumentalalbum ("If I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird") veröffentlichte, bevor sie nach Los Angeles ging, wo sie sich verliebte und sich niederließ. L.A. ist ein guter Ort zum Leben, schon allein deshalb, weil, wie West sagt: "Wo auch immer du hingehst, dort bist du. Ich wünschte, es gäbe eine coolere Art, das auszudrücken." Zum Glück gibt es die: Dieses Thema, überall Schönheit und Erfüllung zu finden, zieht sich durch "Heaven 2". In ,Even Mountains Erode" singt West: , "There are symbols and signs, you're missing your life". West ermutigt sich selbst und uns, langsamer zu werden. Innezuhalten und den Duft der Blumen zu genießen. West hat das Album zusammen mit Melina Duterte von Jay Som produziert, die mit ihrer kraftvollen Stimme einen starken Kontrast zu Wests warmem, rundem Gesang bildet. Die Beziehung zwischen den beiden war telepathisch, und das Ergebnis ist ein mutiges und selbstbewusstes Album. Duterte und West spielten fast alle Instrumente des Albums selbst, mit ein paar wichtigen Gästen wie Sen Morimoto am Saxophon im Eröffnungstrack "Car Anymore" und einer Bridge, die Aaron Maine von Porches für den Titeltrack ,Heaven 2" geschrieben hat. Bei "Catharsis" geht es nicht nur um den Schmerz, sondern auch um die Befreiung, die man erlebt, wenn man sich davon befreit. Und so gibt es auch Momente kühner Freude auf dem Album. "Arrow", das Samples der französischen Electro-Pop-Band La Femme enthält, ist schnell, und seine Schnelligkeit und Freude fühlen sich an, als würde man auf etwas zulaufen und nicht davonlaufen. "None of this was supposed to happen", singt West. Aber es ist passiert. "Es ist so eine grundlegende spirituelle Sache", sagt West, ,Widerstand ist die Wurzel allen Leidens, und ich dachte, ich könnte den Verlauf meines Lebens bestimmen." Natürlich konnte sie das, wie alle anderen auch, nicht. Wohin man auch geht, man ist immer da.

Repress!

180 gram coloured vinyl now at new price. Spacemen 3's debut album "Sound Of Confusion", released in 1986, was a blistering affair - establishing their love of the two-chord song and also expressing their admiration for the likes of MC5, The 13th Floor Elevators and The Stooges. Sound of Confusion was 7 tracks of overdriven assault, with a strange bleakness and despair creeping through the hypnotic sprawl. R Hunter Gibson would later say: "It boosts the value of unlit rooms, unpaid debts and unfeigned terror and it would rather tackle the gradients than settle for level best. New digipack. Tracks : 1 Loosing Touch With Your Mind  2 2.35, 3 Little Doll, 4 MaryAnne, 5 Roller coaster, 6 Hey Man, 7 OD Catastophe.

Named after his grandfather's pool hall cafe in Alert Bay, British Columbia, the record connects small-town grit with the bright lights of Nashville, where Willie recorded with Grammy- winning producer Tom Hambridge (Buddy Guy, Kingfish, Susan Tedeschi). From roadhouse stompers to backseat ballads, Garret T. Willie sings of love, loss, addiction, and resilience with a voice that cuts like hi- beam headlights on a dark backroad. Bill's Cafe is alive wire of energy and soul, carrying old-soul traditions into the future with fire and truth.

Conceived as a return to the music that shaped his formative years, the project draws its energy from late-night introspection, creative renewal, and a distinctly crepuscular sensibility. Initially conceived as a solo project, LOCUS NOIR is set to evolve into a fully-fledged band . Musically, LOCUS NOIR blends Type O Negative gloom, The Fields of the Nephilim mysticism, and Paradise Lost melancholy, all infused with a post- punk edge.

The result is a sound that feels both contemporary and timeless -- a modern interpretation of what Gothic Metal can be. On debut album 'Shadow Sun' , band main songwriter and vocalist Ben steps fully into a melodic, haunting vocal register, merging the theatrical delivery of Peter Murphy with subtle echoes of the late Peter Steele. The lyrics move between the esoteric and the intimate: love and death, desire and decay, nocturnal excess and the bitter aftertaste of parties stretching well past dawn.

Auch wenn die NWOBHM zum Zeitpunkt der Veröffentlichung von Elixirs »The Son Of Odin«, im Juli 1986, bereits Geschichte war, zählt das Album zu den besten Alben der Bewegung. Mit einer neuen Fassung ihrer hoch gelobten Single ‘Treachery (Ride Like The Wind)’, viele Jahre nach der ursprünglichen 7“, wurde »The Son Of Odin« vom englischen Terrorizer-Magazin als eines der Top 20 Power-Metal-Alben gekürt, während es das Sweden Rock im April 2010 als „Album-Klassiker des Monats“ auswählte. Elixir starteten 1983 in London. Die fünf Musiker nannten seinerzeit das erste Album von MSG sowie »British Steel« von Judas Priest sowie neuere Bands wie Mercyful Fate und Queensryche als ihre Haupteinflüsse. 1985 erschien die Debüt-Single ‘Treachery (Ride Like The Wind)’, die im Kerrang! von keinem Geringeren als Ronnie James Dio in einem Gastbeitrag abgesegnet wurde, was die Band anspornte, ihr erstes Album in Angriff zu nehmen. Das Resultat war »The Son Of Odin«, aufgenommen im Januar 1986 im The Lodge Studio von The Enid und sechs Monate später abgemischt. Nahezu überall folgten überschwängliche Kritiken, nicht zuletzt im Metal Forces, wo Dave Constable zu Protokoll gab: „Eine selbstfinanzierte LP, die so manche Veröffentlichung eines Major-Labels in den Schatten stellt.“ Constable resümierte: „Ich höre mir lieber »The Son Of Odin« an, als die hundertste Version von »Turbo« oder »Somewhere In Time«.“ Die 40th Anniversary Edition dieses unsterblichen NWOBHM-Klassikers beinhalt zusätzlich zum regulären Album die vollständige Session, von der die ‘Treachery (Ride Like The Wind)’-Single stammt, genauso wie das vorangegangene Demo und die BBC Friday Rock Show Session. Zudem erzählen aktuelle Interviews mit Gitarrist Phil Denton und Manager Seymour Mincer erzählen die Geschichte des Albums.

Close Proximity lands on Second Sight with a four-track statement that spans the full spectrum of the label’s world. From upfront, peak-time club pressure to 90s-tinged house swing and Balearic-leaning warmth, the EP moves between late-night drive and sunlit release without losing momentum. Tight drums, bold hooks, and a vivid sense of space make it equally built for big systems and repeat listens — a focused package of energy, groove, and atmosphere.