Pop & Rock Vinyl New Releases - News

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.

Alchemy: An Index of Possibilities ist das zweite Soloalbum von David Sylvian, entstanden zwischen Brilliant Trees und Gone to Earth. Das Werk vereint verschiedene Projekte zu einem atmosphärischen Klangkosmos, in dem Sylvians charakteristische Stimme auf experimentelle Soundscapes trifft.

Für diese Edition wurde die jüngste Remaster-Version verwendet. Sie erscheint als Corona Gold Opaque Red Vinyl – ein Sammlerstück für Fans von Sylvian und Liebhaber außergewöhnlicher Pressungen.

"deathcrash’s third album, Somersaults, glimmers with an everyday euphoria. The London-based slowcore/ post-rock quartet has always had an affinity for building worlds only to crush them. From their breakout EP, People thought my windows were stars (2021), through two critically acclaimed studio albums, Return (2022) and Less (2023), they have been both the architects and the destroyers, the creationists and the ones manning the flood barrier. But, recorded between Black Box Studio in the Loire Valley and Haggerston’s Holy Mountain, Somersaults is almost joyful.

Its ten tracks are more vocal heavy than any of the band’s catalogue – think Mark Linkous via The Kinks – but lyrically, Somersaults resists revelation. For all its abrasion, phrases appear half-swallowed, broken off at the edge of meaning, consumed by the smaller textures of living. “Thirty, no career, it fucking worries me / And doing the band doesn’t help,” Banks sings in ‘NYC’. But, “This life is the best life,” he finishes in ‘CMC’ on top of the ambient white noise of an office printer, thankful that the band is still there, “still making noise in the doorway.”

Their role as caretakers of Duster, Low and Codeine’s slowcore lineage is all across Somersaults – songs scud to a narcotic crawl, sound monolithic and inwards before spotlighting a crystalline nothing. Cathartic builds are muddied with tenderness, the bass a heavy grounding, the drums an exhausted heartbeat grasping for air. But more so than ever, even the silence feels collaborative – a gesture of communal trust – friends celebrating the room they’ve made for each other’s ghosts, and some of the biggest, brightest songs they’ve made to date."

Orange vinyl, limited to 200 copies. REMASTERED version of the Earthless epic live at Roadburn 2008. "This double gatefold LP, recorded at Roadburn Festival in 2008, celebrates the psychedelic powerhouse that is Earthless in all their mind-splitting live glory. In fact they put in one of the best live performances I'd ever seen." - The Sleeping Shaman

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

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

Oxblood Red vinyl, limited to 400 copies. Lord Elephant are back with their second studio album "Ultra Soul", a psyched blend of 70's, 90's and 00's extravaganzas mixed together with the distinctive heavy breath of the band. Blues, doom and sludge are fused again in the strange trademark of the trio, allergic to genre-labels and ready to expand the vision beyond cages! Recorded, mixed and mastered at Studio 73, Ravenna, by Riccardo Pasini (Nero Di Marte, Ephel Duath, Ottone Pesante..) Artwork and Layout by JJ Farfante ArtLab (Melvins, Mudhoney, Ufomammut)

First-ever vinyl edition of Magic Castles' 2014 cult album The Lore Of Mysticore. A hypnotic blend of shimmering psych pop, hazy drones, and kaleidoscopic guitar textures, this record captures the Minneapolis band at the height of their creative powers. Originally released in 2014, The Lore Of Mysticore stands as one of the most compelling documents of the contemporary psychedelic underground. Minneapolis-based Magic Castles craft a hypnotic and immersive sound that blends shimmering psych-pop, hazy drones, and kaleidoscopic guitar textures into expansive, sun-drenched songs. This first-ever vinyl edition brings the band's beloved debut album to wax for the very first time, offering fans a chance to experience its swirling, cinematic beauty in a format that truly does it justice. Essential listening for fans of The Brian Jonestown Massacre, The Asteroid #4 and Spacemen 3

Fast sieben Jahre nach ihrem letzten Release, zahlreichen internationalen Touren, und dem Preis als Beste Band bei der ersten Ausgabe des Deutschen Jazzpreis 2021, veröffentlicht PHILM gleich zwei neue Alben. "2024" wurde in einem alten Berliner Kinosaal, der Zentrifuge, aufgenommen. Auf der Suche nach "eigenen rhythmischen Mantras", nach seltsamen, vielschichtigen Grooves und ungewohnten Sounds. Durch Groppers Kompositionen in merkwürdige Welten katapultiert, geht es PHILM um den emotionalen Gehalt dieser Grooves und um das gemeinsame Navigieren in diesen. Diese abenteuerliche Atmosphäre im Raum und das zwischenmenschliche Zusammenspiel hinterlassen ihre Spuren im Sound. Denn genau dies macht PHILM aus: eine Band, in der es nicht darum geht, sich gegenseitig mit Solos zu überbieten, sondern eine geteilte musikalische Sprache zu finden, gemeinsam zu gestalten, wie eine verzahnte Soundmaschine.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

25 Years Edition

Der britische Produzent und Elektronikkünstler Joe Thornalley, bekannt als Vegyn, interpretiert das kultige Debütalbum „Moon Safari“ von Air aus dem Jahr 1998 in einem gewagten Crossover der Genres und Epochen neu. Vegyn wurde durch seine Arbeit mit Künstlern wie Frank Ocean und Travis Scott bekannt und hat sich einen Namen als zukunftsorientierter Produzent gemacht, der üppige, atmosphärische Klanglandschaften mit experimentellen Beats und einem Sinn für Unvorhersehbarkeit verbindet. Mit seinem Remix von Moon Safari“ bringt Vegyn seine einzigartige Vision in das beliebte Ambient-Pop-Meisterwerk des französischen Duos ein und verleiht ihm eine frische, moderne Energie.


Vegyns „Moon Safari“-Überarbeitung wird in einer neuen Tracklist enthüllt und erscheint auf schwarzem Vinyl und einem CD-Digisleeve, beide in einer schönen, transparenten blauen Hülle verpackt.

Autumn 1983: "Paris Latino" hits the radios. The hit was then ranked No. 1 in the Europe 1 and RTL charts, No. 1 in Spain, No. 2 in Germany, Italy and Switzerland, No. 3 in the famous Top 50 in France and No. 19 in Belgium. Very quickly, the Bandolero group sold 3 million records of this first single. With a rather funk-disco-pop sound, the title is taken over by the students of season 2 of Star Academy and finds itself ranked No. 1 in the Top 50! Bandolero then released four more singles. On the occasion of the 40th anniversary of "Paris Latino", Bandolero offers this compilation of 10 tracks containing several versions of their mega hit (remixes, foreign version...) but also of their other singles, for the first time on color vinyl. LIMITED EDITION AND REMASTERED TRACKS

The Swedish underground legends return with a brand new album. Let this reddit user take over …
“Listening to Brainbombs has been one of my weirdest experiences with music. Brainbombs are most definitely a band. I guess at the core they’re a hardcore punk/noise rock hybrid I guess? But… It's so unlike anything I’ve ever heard and I still don’t know if it's good or bad. I saw the edgelord Ed Gein album cover, and it intrigued me, so I listened to their biggest song and it was easily THE WORST thing I had EVER FUCKING HEARD. I shut it off as soon as it got to the vocals. I was shocked by the fact that it had almost a half million streams. But, a few hours later, I clicked on it again and didn’t know why.
Over the past few days, I’ve listened to all of their discography and looped a lot of it. And I don’t even think I like them. The music is abysmal, it's the same single riff and verse repeating for 5 minutes. To make it worse, the vocals are just a guy with a swedish accent awkwardly talking about murder and rape. That sounds awful right? It is awful. But at the same time I want to keep listening? It’s so childishly edgy and obnoxiously repetitive but so.. intriguing? Catchy? I’m not even sure. It's one of if not the weirdest experience I’ve ever had with music and I don’t know how to feel about it.”

LIMITED THIRD PRESS. 300 ONLY CLEAR VINYL WITH RED BLOOD SPLATTER, HOUSED IN A RED AND METALLIC SILVER SLEEVE.

The Swedish underground legends return with a brand new album. Let this reddit user take over …
“Listening to Brainbombs has been one of my weirdest experiences with music. Brainbombs are most definitely a band. I guess at the core they’re a hardcore punk/noise rock hybrid I guess? But… It's so unlike anything I’ve ever heard and I still don’t know if it's good or bad. I saw the edgelord Ed Gein album cover, and it intrigued me, so I listened to their biggest song and it was easily THE WORST thing I had EVER FUCKING HEARD. I shut it off as soon as it got to the vocals. I was shocked by the fact that it had almost a half million streams. But, a few hours later, I clicked on it again and didn’t know why.
Over the past few days, I’ve listened to all of their discography and looped a lot of it. And I don’t even think I like them. The music is abysmal, it's the same single riff and verse repeating for 5 minutes. To make it worse, the vocals are just a guy with a swedish accent awkwardly talking about murder and rape. That sounds awful right? It is awful. But at the same time I want to keep listening? It’s so childishly edgy and obnoxiously repetitive but so.. intriguing? Catchy? I’m not even sure. It's one of if not the weirdest experience I’ve ever had with music and I don’t know how to feel about it.”

Enterprising composer and musician Eddie Suzuki made his own path throughout his lifetime. Born on October 4, 1929, Suzuki worked as a young shoeshiner in 1940s Honolulu, saving enough money to take piano lessons. In high school, he lead a big band orchestra of 16, and sometimes up to 40 members. By the age of 18, he owned a piano shop that pivoted to become Honolulu’s top guitar store.

For Eddie Suzuki, music always came first. In 1973, after performing and composing songs for many years, Eddie Suzuki and his group, New Hawaii, recorded the now impossibly rare album, High Tide.

The LP is “not a rock-out”, local music journalist Wayne Harada ruminated in a 1973 review. “Rather, it’s one man’s vision — and version — of the now Hawaii.” A seasoned mix of psych, Hawaiian, and pop sensibilities, the music on High Tide gave the listener a look into Eddie’s singular vision celebrating the sights and sounds (and spirit) of Hawaii.

Eddie Suzuki’s New Hawaii:
Laurence Harada, guitar
John Schulmeister, bass
Gary Fittro, drums
Nani Kuaiwa, vocals
Eddie Suzuki, vocals, Hammond organ, Arp synthesizer.

"A beautiful album celebrating Hawaii’s warmth and spirit. The personal story here is that I reached out for a license just 1 week too late — Eddie Suzuki had died the week prior to my initial phone call. It took a couple years until I was able to connect with his son and get his permission to reissue Eddie's music." – Roger Bong, Aloha Got Soul

Auf ihrem dritten Album bei Oh Boy Records und ihrem fünften seit Beginn ihrer Karriere vor einem Jahrzehnt stellt Emily Scott Robinson erneut ihre Meisterschaft als Performerin und Geschichtenerzählerin unter Beweis. Mit Appalachia - aufgenommen in den Dreamland Recording Studios mit dem Grammy-nominierten Produzenten Josh Kaufman - öffnet sich Robinson für Experimente und singt mit ihrer kristallklaren Stimme über Widerstandsfähigkeit, Liebe, Trauer und Hoffnung. Robinsons Talent ist keine Überraschung - sie ist mittlerweile eine erfahrene Tournee-Künstlerin, sowohl im In- als auch im Ausland. Ihre Alben ,Traveling Mercies" (2019) und ,American Siren" (2021) landeten jeweils ganz oben auf den Jahresendlisten ,Best Country and Americana Albums" des Rolling Stone und ,10 Best Country Albums" von Stereogum. Sie wurde von der Washington Post, Billboard, American Songwriter und No Depression gelobt und erreichte mit ihrem Song ,Let 'Em Burn" Platz 19 der NPR-Liste ,100 Best Songs of 2021". Es war ihre 2020 veröffentlichte Single ,The Time for Flowers", eine Hymne der Hoffnung, die sie zu Hause inmitten der globalen Pandemie aufgenommen hatte, die die Aufmerksamkeit von Oh Boy Records auf sich zog, dem 1981 von John Prine gegründeten Independent-Label. Robinson ergriff die Gelegenheit, sich dem freigeistigen und beliebten Plattenlabel anzuschließen, das das Erbe ihres Helden weiterführt. Robinson ist überzeugt, dass die Songs auf ,Appalachia" die besten sind, die sie je geschrieben hat - sie singt über ihre an Demenz erkrankte Großmutter, einen Saloon voller schillernder Charaktere, in dem nur Bargeld akzeptiert wird, und über ihre Dankbarkeit für das Leben trotz aller Schwierigkeiten. Das Album enthält ein Duett mit dem Grammy-Gewinner John Paul White, das die Liebe feiert, die mit Narben und Alter einhergeht, sowie eine Hymne für alle, die jemals gescheitert sind oder hinter ihren Erwartungen zurückgeblieben sind. ,Es gibt etwas, das ich bei jeder Platte, die ich mache, tue", sagt sie. ,Ich verwebe ein Gebet darin und bitte darum, dass all diese Songs ihren Weg zu allen finden, die sie brauchen. Ich bitte diese Songs, von Nutzen zu sein, den Menschen zu helfen, Freude zu finden und zu erleben."

Fra Lippo Lippi released six studio albums between 1981 and 1992, two of them on Virgin Records, namely "Songs" in 1986 and "Light And Shade" in 1987. All the original releases were deleted many years ago. There are two previous The Best Of Fra Lippo Lippi releases on CD (1995 and 2003), but this is the first on vinyl. With the limited playing time of vinyl, we had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem from the final studio album "Dreams" (1992) that didn't make the previous 15 track collection, but in mysterious ways gained new life through organic streaming, with over 70 million streams on Spotify at the time of writing. Included is also the international hit "Shouldn't Have To Be Like That" and "Angel", featuring the late, great Walter Becker on guitar and production duties. The duo is still very popular in various parts of the world and now has 1,2 mill monthly listeners on Spotify. This 2025 reissue is pressed on clear vinyl (500 ww copies).

Following their recent appearance covering Sylvester and Patrick Cowley's 'I Need Somebody to Love Tonight' on Rocksteady Disco, the enigmatic cosmic pairing of Glenn Echo & Daniel Meinecke channel deep, shimmering disco and nu-disco vibes while calling on ethereal, cosmic textures. The throbbing 'Home Rule' opens with a warm, hypnotic pulse and well-worked vocals that deliver recognisable rhymes, while 'Love Letter' slows down to a heavyweight crawl with warped and twisted pads and plenty of texture. Both tunes here highlight the duo's skill at blending dancefloor immediacy with atmospheric nuance and feel like a journey through mirrored lights and late-night reverie.

Hate Love Trio made a low-key debut last year on this label with the slow, dreamy, dance-pop charms of 'Chan-O-Rama'. We have found out little more about the producer or producers behind it but here they or he or she returns with a full-length album of elegant and inventive downtempo and Balearic that starts off with those singles. Elsewhere, slow, mournful rhythms and melodies encourage inward reflection. 'Loosey Goosey' is a funky dancer for grown-ups, 'Billie Brownie' merges dub pacing with sunny guitar echo and 'Sunday I Don't Know' is a shimmering, jazz-flecked neo-classical warmer for intimate moments. An accomplished and adventurous album that is as good for the mind as it is body and soul.

»locket« ist das mit Spannung erwartete vierte Studioalbum der zweifach GRAMMY®- nominierten und mehrfach mit Platin ausgezeichneten Künstlerin Madison Beer. Mit dem mitreißenden Dance-Track »yes baby« und der empowernden Trennungshymne »bittersweet« erzählt das neue Album eine nachvollziehbare Geschichte: sich zu verlieben, zu erkennen, dass die Beziehung ungesund ist, sie zu beenden, sich selbst wiederzufinden und letztlich zu sich selbst zurückzukehren. Als wahre kreative Kraft singt, schreibt, produziert, inszeniert und gestaltet Madison mit kompromissloser Authentizität. »locket« festigt ihren Status als eine der einflussreichsten Stimmen ihrer Generation.

The creative visionary behind a remarkable catalogue of widely celebrated releases and two critically acclaimed albums, Monolink returns this fall with his most thought-provoking and introspective project to date. Titled The Beauty Of It All, the multi-faceted German artist's third studio album is slated for worldwide release on September 26, 2025.
Marking a bold new chapter in Monolink's artistic evolution, The Beauty Of It All will dive deep into themes of beauty, impermanence and human connection, blending his signature fusion of live instrumentation, soulful song-writing and electronic innovation. The announcement arrives on the heels of two standout singles already this year - "Mesmerized" (January) and "Powerful Play" (March) - both of which will feature on the new album. With The Beauty Of It All, he builds on the foundations laid by his first two long players, pushing his sound into new, uncharted territory while staying rooted in the organic, humanistic qualities that have defined his career. The album is poised to be his most revealing and boundary-defying release yet; a sonic statement from an artist who continues to redefine what it means to be a modern musician.

"Goodbye Horses: The Many Lives of Q Lazzarus (Music From The Motion Picture)". Purple + Black & White Splatter Vinyl. Der Einstieg in die Musik von Q Lazzarus erfolgte für fast alle über "Goodbye Horses". Der Song tauchte erstmals 1988 in Jonathan Demmes "Married to the Mob" auf, aber er sollte sich erst dann vollständig im Bewusstsein der Menschen verankern, als er 1991 in Demmes "The Silence of the Lambs" wieder auftauchte. "Goodbye Horses" fühlte sich an wie ein in sich geschlossenes Universum - traumhaft und völlig ungewöhnlich, ein sofortiger Klassiker, der die Zuhörer fesselte und neugierig auf die geheimnisvolle Stimme dahinter machte. Diese Stimme gehörte Diane Luckey, einer einzigartig talentierten Künstlerin, deren Musik ihrer Zeit voraus war und die letztlich zu Lebzeiten weitgehend unerkannt bleiben sollte. In Verbindung mit der Veröffentlichung des Dokumentarfilms "Goodbye Horses: The Many Lives of Q Lazzarus" von Aridjis Fuentes veröffentlicht Sacred Bones eine Sammlung von Songs, die die gesamte Karriere von Q abdecken und die verschiedenen Epochen ihres Schaffens und die ganze Bandbreite ihrer Persönlichkeit zeigen. "Goodbye Horses" ist die erste Musiksammlung, die den Segen von Qs verbliebener Familie erhalten hat, und hat die Besonderheit, ihre erste und einzige Albumveröffentlichung in voller Länge zu sein. Aufgenommen zwischen 1985 und 1995, spiegelt diese Fundgrube bisher unveröffentlichter Musik einige der interessantesten Facetten der Popmusik der letzten vier Jahrzehnte auf eine Weise wider, die sowohl versiert als auch wild eklektisch wirkt. Das titelgebende "Goodbye Horses" bleibt ein einzigartiges Stück gespenstischer New-Wave-Perfektion, und man könnte sich ein ganzes Q-Lazzarus-Album vorstellen, das sich um diese Ästhetik dreht, aber ähnlich den Gesangsikonen Alison Moyet, Annie Lennox oder Lisa Gerrard eignet sich Qs chamäleonhafte Stimme perfekt für eine Vielzahl von Stilen und Settings. Ihre Coverversion von Talking aHeads' "Heaven" verwandelt den Song in eine aus voller Kehle gesungene Power-Ballade mit klimpernden Klavierverzierungen, während ihre Interpretation von Gershwins "Summertime" wie eine dubbige Club-Reduktion klingt, die zu einem Grace Jones Stück der Nightclubbing-Ära hätte passen können. Tracks wie "My Mistake" und "Hellfire" flirten mit House-Musik und zeigen, wie frech und glockig Qs Stimme sein kann, wenn sie sich richtig austobt, während "Don't Let Go" wie eine bombastische Radiosingle klingt, die Cher vor einigen Jahrzehnten hätte veröffentlichen können. Andere Songs wie "Bang Bang" und "I See Your Eyes" sind von einer gitarrenbetonten Alt-Rock-Sensibilität, die in einem Paralleluniversum auch auf MTVs 120 Minutes Show hätte laufen können. "Goodbye Horses" verkörpert das Potenzial für so viele verschiedene Arten von Karrieren, die, aus welchen Gründen auch immer, nie vollständig verwirklicht wurden. Dass wir jetzt diese Songs in der Welt haben und ein klareres Bild von der Person dahinter, ist nichts weniger als ein Segen.

“’Death & Connection’ is a body of work born from the absence of the people who no longer hold space in our lives”, comments the band. “This record was created from a necessity to express and soothe our deepest losses; however, that was never the intention — we simply set out to make an album we wanted to hear.” With “Death & Connection”, Shields invite the audience to experience the next evolution of their sound – mature, refined and fearless. Throughout the band’s career Shields toured with bands such as Ice Nine Kills, Born Of Osiris, Chelsea Grin, Veil Of Maya, Escape the Fate or Loathe.