Pop & Rock Vinyl New Releases - News

Multi-award winner Jack Garratt makes his very welcomed return with the announcement of third album Pillars - out on Cooking Vinyl. Marking his first full-length project in five years, Pillars is vibrant, emotionally charged and a celebration of love, community, and self-discovery. Pillars is a testament to Jack"s evolution as an artist and individual. Following the release of his 2020 album "Love, Death & Dancing" Jack found himself yearning to reconnect with his fans and his craft. This album is his answer: a bold, unflinching exploration of love in all its forms - romantic, platonic, and self-love - woven into a tapestry of lush melodies, infectious beats, and heartfelt storytelling. Since winning the Brits" Critics" Choice Award and the BBC Sound Of poll in 2016, Jack Garratt has released two critically acclaimed albums, Phase (2016) and Love, Death & Dancing (2020). Known for electrifying live performances and a genre-defying sound, Jack continues to push boundaries with his deeply personal and sonically adventurous music, with Pillars being no exception.

ULTRA LIMITED EDITION - WHITE VINYL - 4 DIFFERENT ARTWORKS (BUY, OBEY, WATCH TV, SLEEP) - NO REPRESS!

FULL soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth.

Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes - Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci fi vibe of John Carpenter's iconic movie.

This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack - the true complete music scores of They Live!

Points of interests

- For fans of soundtracks, horror, cult, sci fi, synth, Western, VHS, John Carpenter, bubble gum, conspiracies, cowboy boots, sunglasses, very rare editions of vinyl records.

- Full EXPANDED version of the They Live soundtrack on vinyl for the first time!

Club music reduced to its essential elements, those elements then pushed to their limits! Dangerously malfunctioning DJ tools! The Feeling of Power!
All that and much more on this striking new record from the one and only Barnt, the great reductional absurdist finally appearing on Studio Barnhus, providing concrete proof of the secret, decade-long love-affair between artist and label, after a bunch of Barnt b2b Boman DJ sets over the years, Kornél Kovács’ legendary “disco edit” of classic Barnt track “Chappell”, endless “Studio Barnthus” jokes, etc.

The French label from north of France is back with some electro tracks. Perfect for club use.

The Remix Album from Daft Punk !!! Now repressed !!!

"Pure Love," featuring Damon Albarn, is the first single from DJ Koze's highly anticipated new album Music Can Hear Us. The new long player, a follow-up to his worldwide hit album Knock Knock, which reached #7 in the German Album Charts and included the global dance hit “Pick Up” will be released on April 4th on Pampa Records. It's a 64-minute trip into space and back.

Exklusive 12" des 2023er Dancefloor-Hits "Atmosphere" des australischen DJ/Produzenten FISHER. Der Ohrwurm hat bislang weit über 166 Mio. Streams (allein bei Spotify) und Platinstatus (Australien) eingefahren und erscheint hier erstmals in seinen Extended Versionen. FISHER legt regelmäßig in Clubs von Ibiza über Paris bis Mexiko auf und wurde bereits für einen Grammy nominiert. Die 12" erscheint in einer 500er Auflage auf regenbogenfarbigem, recycletem Vinyl, bei der jedes Exemplar einzigartig und per Obi-Strip nummeriert ist.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Claire Chicha aka Spill Tab is feeling more free than ever before. The LA-based, French-Korean songwriter and producer,has spent the past five years as spill tab honing a sound that is as raw-edged as it is refined, channelling low-slung guitar-strumming confessionals as well as the earworming melodic hooks of anthemic pop to produce a heady and distinctive mix.

Following the 2019 release of her intimate and infectious debut single “Decompose”, Spill Tab has evolved her spill tab project through three EPs: 2020’s synth-pop influenced Oatmilk, 2021’s playful, uptempo Bonnie, featuring Gus Dapperton and Tommy Genesis, and 2023’s co-produced, sonically-intricate Klepto, which gleefully meanders from the Hiatus Kaiyote-influenced jazz freakouts of “CRÈME BRÛLÉE!” to the guitar-chugging thump of “Splinter”. Live, meanwhile, Spill Tab has been tapped for her explosively energetic presence to open the North American leg of popstar Sabrina Carpenter’s tour, as well as touring through Australia with alt-rock trio Wallows.
With “PINK LEMONADE”, opening single from her forthcoming debut album “ANGIE” , spill tab’s freewheeling sound finds its fullest expression, harnessing this onstage experience and recorded experimentation with her bass-weight and pitched-up vocals. Here we find Chicha only ever chasing that “weird thing”, fizzing with an infectious enthusiasm and intricate musicianship. “The best songs come from writing the main idea in a day, as it’s so instinctual,” she says, such as “PINK LEMONADE” recorded “from a clip taken out of a 40-minute jam that we then chopped and spliced”.
Born to her French Algerian composer father and Korean pianist mother, Claire Chicha spent her early childhood in the mixing room of her parents’ LA post-production studio, bringing coffees to artists as they tracked scores for exciting new projects. “I hung out in that studio all the time until I was around 10 years old, absorbing jazz music my dad was into and classical music that my mom loved,” Chicha says. “My mom had a big hand in making me an adventurous kid, always trying new things from piano to harp and violin, forever soaking up new sounds.”

At 12, Chicha’s life was uprooted as she relocated to Thailand to live with her mother’s family following the collapse of her parents’ business after the 2008 recession. What followed was an unstable and formative few years of early teenagedom, navigating new cultures and life changes. In Thailand, Chicha began learning guitar to cover the Paramore and Green Day tracks she had grown to love while also becoming immersed in Thai traditional music. After a year, she moved once more to live with her aunt in Paris and there she was introduced to the classic sound of Serge Gainsbourg and Édith Piaf before ultimately returning to LA following the untimely death of her father.

“I had to become a real people person to fit in everywhere I was moving, and it immersed me into so many different styles of music,” she says. “I went from listening to the nasal singing of Thai traditional music at muay thai fights in Bangkok, to emotive classic French songs. It definitely informed the need to experiment with my sound as I became more interested in making music.”

At high school in LA, Chicha joined one of the country’s foremost show choirs and realised a natural aptitude for stagecraft and performance as she sang medleys in competitions throughout the US. Going on to study Music Business at NYU, Chicha found a love for the alternative soul and singer-songwriting of the likes of Moses Sumney and Bon Iver, as well as developing her own sound while spending summers interning as an A&R at Atlantic Records and being exposed to the gamut of New York’s live music scene.

“I was going to so many shows as an A&R intern and seeing just how much a lot of music sounded alike,” she says. “It made me realise I wanted my music to feel different, to cut through the noise but still make something that felt honest to me.”

Beginning to independently release tracks, Soill Tab gradually built a loyal fanbase with the release of wistful early numbers “Calvaire” and “Cotton Candy” and soon found herself signed to a major label. Yet, as her career progressed through the COVID pandemic the demands of a corporate major began to conflict with her own searching style. “My last two EPs were under contract and it felt like I was always chasing the carrot,” she says, “I felt a certain pressure to put out tracks quickly and find that ‘hit’. It wasn’t the right environment to truly make what I wanted.”

Ultimately parting ways with her label, Chicha began work on a new album, exploring new sounds and ideas with her LA-based community of collaborators like producer David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, without expectation. “It became this beautiful experience of only following ideas that I really believed in and exploring all the musical avenues I hadn’t before,” she says. “I’ve never been more excited about songs and I’ve never felt like a project is more mine.”

Writing and recording while touring with Sabrina Carpenter and Wallows, Chicha road-tested her new tracks to see what might land best with an audience who had likely never heard her music before. “You have to win people’s hearts as an opener and you can see what resonates and what doesn’t,” she says. “I would watch people fall in love or not and it’s usually always the song you’re having the most fun with that does the best. That’s what I put on the record.”

« Angie », Spill’s Tab debut album is relased on because Music and expected for May 16th release.

Crowns by The Rebel feat. Corey James Gray is out now on 7’’ via Little Beat More!
The Rebel, aka Tommaso Taroni, producer from Rome and Founder of DJ’s Choice label, delivers a raw, soulful track that opens the door to his debut album. Crowns features the sharp lyrics and smooth, magnetic delivery by Corey James Gray (FKA Ill Spookin), riding over a sturdy groove with crisp drums and deep guitar loops.
On Side B a further explosion comes: Clap! Clap! signs a Power Trio remix of the track that flips everything on its head. With thunderous syncopated riddim and wild brass stabs, this version hits like a futuristic brass band from New Orleans: unrelenting, joyful, and rhythmically overpowering. A bold reimagining by one of Italy’s most visionary electronic producers.
Packaged in a stunning disco bag illustrated by El Moro, this 7” is both a record to play and a piece to keep. A snapshot of a fresh project in the pipeline, ready to go!

Crowns by The Rebel feat. Corey James Gray is out now on 7’’ via Little Beat More!
The Rebel, aka Tommaso Taroni, producer from Rome and Founder of DJ’s Choice label, delivers a raw, soulful track that opens the door to his debut album. Crowns features the sharp lyrics and smooth, magnetic delivery by Corey James Gray (FKA Ill Spookin), riding over a sturdy groove with crisp drums and deep guitar loops.
On Side B a further explosion comes: Clap! Clap! signs a Power Trio remix of the track that flips everything on its head. With thunderous syncopated riddim and wild brass stabs, this version hits like a futuristic brass band from New Orleans: unrelenting, joyful, and rhythmically overpowering. A bold reimagining by one of Italy’s most visionary electronic producers.
Packaged in a stunning disco bag illustrated by El Moro, this 7” is both a record to play and a piece to keep. A snapshot of a fresh project in the pipeline, ready to go!

Seit über einem Jahrzehnt ist die Sängerin und Songwriterin Samira Winter eine feste Größe in der Musikszene von Los Angeles. In der DIY-Rock-Community der Stadt fand sie ihre kreative Heimat und schuf sich unter dem Namen Winter ihre ganz eigene Nische mit glorreich detailverliebtem und eklektischem Dream Pop. Ihr neuestes Album und Winspear-Debüt "Adult Romantix" ist ein Abschieds-Liebesbrief an LA - ,ein Tunnel aus Sommern und Erinnerungen" - inspiriert von der gotisch-romantischen Literatur Mary Shelleys und romantischen Komödien der 90er-Jahre. Samira wuchs in Curitiba, Brasilien auf und spielte in ihren ersten Bands in Boston, bevor sie 2013 nach Los Angeles zog und sich in die Stadt verliebte. Doch irgendwann verspürte sie den Wunsch nach einem Tapetenwechsel, um persönliches Wachstum zu ermöglichen - eine schmerzhafte, aber notwendige Erkenntnis, die sie schließlich nach New York City führte. In den rund zwei Jahren vor ihrem emotionalen Umzug von Küste zu Küste schrieb sie Songs im Übergangszustand - oft zwischen Tourneen, in verschiedenen Städten und temporären Unterkünften. Aus diesen Phasen entstanden die 13 Songs ihres neuen Albums "Adult Romantix", dem Nachfolger ihres gefeierten 2022er-Albums "What Kind of Blue Are You?". Nostalgisch und sehnsuchtsvoll verbindet "Adult Romantix" wirbelnde Gitarren, rauchige Vocals und einige bemerkenswerte Gastauftritte, etwa von Dimitri Giannopoulos (Horse Jumper of Love) und Hannah van Loon (Tanukichan). Beeinflusst von Klassikern wie "Rather Ripped" von Sonic Youth, "Either/Or" von Elliott Smith und dem sonnengetränkten kalifornischen Shoegaze der 2010er Jahre, schwankt "Adult Romantix" zwischen taufrischer, gitarrengetriebener Euphorie und dunkler, nächtlicher Sehnsucht. Geprägt von aufbrausenden Verzerrungen und offen gestimmten Akustikgitarren, liegt über diesen rohen, liebeskranken Liedern eine greifbare bittersüße Stimmung.

With a room fulla fine pickers and a set of Hollywood orchestral cues to kill for, Cory Hanson proclaims I Love People! His 4th solo album drills down (baby) on a dryly parallax worldview, with songs about all those people he loves and all the crazy things they get up to. As ringmaster for a circus show of classic folk and rock tropes, Cory tugs at our heartstrings with expert misdirection, embracing tradition by throwing it out, into the wind.

2025 Repress

FINALLY! The very first commercial release of two legendary remixes of Arthur Russell's "In The Light Of The Miracle". Both are widely regarded as transcendent masterpieces and very much befitting of the title “holy grails”.

These long-beloved mixes are the types you'd wish would last for eternity. With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.

The deep Loft classic "In The Light Of The Miracle" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of "In The Light Of The Miracle".

Some dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release.

These remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit & Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING.

The "Ponytail Club Mix (Part 1 & 2)", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4/4 kick drum. A 14 minute epic, you could say this is a more straight ahead "club-friendly" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg.

These remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.

DJ Balli, master of breakcore extravaganza and Sindaco, the tropical-electro creator present Mutant Goth Italo: a mutant fusion between shiny Spaghetti-dance freshness and gloomy Goth music shadows, sung strictly in Italian by the androgynous voice of Ossydiana.

Out in April for -Belligeranza the S.B. sublabel dedicated to easygoing midsummer nightmares.

VERY LIMITED 2025 REPRESS ON BEAM OF LIGHT VINYL .

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

These New Puritans veröffentlichen am 23. Mai 2025 ihr neues Album "Crooked Wing"!

"Crooked Wing" ist das fünfte Album von These New Puritans und ihr erstes neues Studioalbum seit sechs Jahren. Produziert von Jack Barnett und seinem langjährigen Mitarbeiter und Bark-Psychosis-Pionier Graham Sutton, enthält es Gastauftritte einer eklektischen und unberechenbaren Reihe von Mitstreitern, von Caroline Polachek bis zum britischen Jazz-Kontrabassisten Chris Laurence.
Das neue Album des experimentellen Kult-Duos bietet einen Sound, der sowohl brutal als auch wunderschön klingt, und festigt TNPs Ruf für visionäre Musik, die sich jeder Kategorisierung und Konvention entzieht, während sie gleichzeitig tiefes Eintauchen und Hingabe belohnt.

Noumena is the second volume of music capturing percussionist Tim Barnes in a variety of collaborative settings recorded in extraordinary circumstances over the past few years. Since the 90s, he has collaborated with a range of talents in the indie rock, improvised & experimental music scenes. In 2021, Tim was diagnosed with early onset Alzheimer"s at the age of 54, and he and his family went public with this immediately. The response from Tim"s network of friends and musical peers was overwhelming, and, beginning in late 2021, collaborative recordings were undertaken, coordinated and assembled by Tim"s longtime friend Ken (Bundy) Brown, with whom Tim had worked in the past as a member of the group Pullman, early pioneers of the new Americana movement in the indie scene of the late 90s. The recordings for Noumena feature the playing of Joshua Abrams, Oren Ambarchi, Ken Brown, John Dieterich, Darin Gray, Glenn Kotche, Robert Carlos Lange, Ro(b)//ert Lundberg, Douglas McCombs,, Matt Mehlan, Rob Mazurek, Tara Jane O"Neil Jim O"Rourke, Chad Taylor, Thollem, Britt Walford and Mike Watt. As with Lost Words, Noumena cuts a dramatic swath through a sweep of music styles, all of which are deepened by Tim"s versatile, intensely stimulated percussive feel.

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

The second volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

For years, Manu Chao has been travelling the world to meet his fans in unusual venues, villages and small festivals. Elusive, but always accessible to those who cross his path, Manu now presents his new studio album 'Viva Tu', a collection of songs written at the heart of daily lives and struggles, and a fresh take on the state of the world, singing sunny, universal songs in Spanish, French, English and Portuguese, painting an unforgiving picture of social imbalances.
The lead song 'Viva Tu', a heartfelt rumba dedicated to the daily life heroes, has already made its mark. The second single, 'São Paulo Motoboy', is a colorful, sunny ode to the two-wheeled delivery people venturing the Latin American metropoles every day.
The album, to be released September 20th, also features some memorable collaborations, including 'Heaven's Bad Day' with country legend Willie Nelson and 'Tu Te Vas' with rising French rapper Laeti.

This London-based crew follows up their recent and acclaimed Akyio project with a 12" that dives deep into the vibrant rhythms of Brazil. The original is by the unique Samba De Matuto Leao Do Norte De Maragogi and was recorded by DJ Tudo. Kolago Kult offers a mix that is packed with Latin swagger, organic percussion and jumble of hand drums while the late Master Tiao adds his vocals to this samba-inspired street sound. Kolago Kult then steps up with two psychedelic remixes that are packed with heavy and dubby rhythms and many layers of percussion. A truly global journey, this one.

Synopsis: On a train bound for Tokyo, Nana Komatsu finds herself sitting next to Nana Osaki. Both are heading to the capital to pursue their dreams—one aspiring to become a professional singer, the other enrolling in an art school. Despite their stark differences, the two young women, who share the same name, quickly form a strong friendship. As they navigate their new lives in Tokyo, their paths intertwine, and they ultimately decide to share an apartment to support each other in both love and career.



This vinyl includes the full Best CD released at the time, featuring the greatest songs from this cult anime. Never before available on vinyl, this edition features a laser-etched engraving, making it an even more exclusive and collectible final NANA album.

„Musik, die in den Schlaf wiegt und die singt, die aus neuem Blut besteht, aus sprechenden Gesten, einem unbekannten Duft, einem nicht schlafenden Vogel; Musik aus bunten Kirchenfenstern, ein Wirbel von Komplementärfarben, ein theologischer Regenbogen.“ Diese persönliche Definition, die Olivier Messiaen mit diesen Worten gegeben hat, dient als Resümee eines der wichtigsten Werke, die Messiaen in seiner ersten Schaffensperiode schuf, das Quatuor pour la Fin du Temps. Von den originalen 8-Spur-Bändern gemixt und geschnitten, bietet diese Edition ein atemberaubendes Hörerlebnis in höchster analoger Klangqualität.

Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.

Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Sleeve, wattierte Innenhülle.

Andrew Hill - Andrew!!!
Der Pianist und Komponist Andrew Hill stürmte die Jazzszene mit einem Ausbruch an Kreativität. In nur acht Monaten, zwischen November 1963 und Juni 1964, nahm er für Blue Note fünf bemerkenswerte Alben in unterschiedlichen Besetzungen (vom Trio bis zum Sextett) und mit durchweg eigenen Kompositionen auf. Das letzte dieser Alben war “Andrew!!!”, über das AllMusic schrieb: “Die Musik hat oft eine schwebende, hypnotische Qualität, die Hills Dissonanzen, ungewöhnliche Voicings und komplexe Arrangements noch fesselnder macht als sonst.”

Spanish Electronica, IDM, Electro all-rounder Annie Hall presents her first full EP for Delsin Records. After a sneaky under the radar contribution to an untitled white label series earlier, she hereby delivers four magnificent cuts of machine heavy electro melancholia to form her Practical Optimism EP. Broken beats with Detroit atmospheres strengthened by knife sharp lazer beams, bumpy drum programming and mesmerizing vocal use form the core of an excellent piece of work that represents both Hall and Delsin in optima forma.

180gAnnihilator zählt zu den erfolgreichsten und einfl ussreichsten Thrash-Metal-Bands weltweit. Im Mittelpunkt steht Mastermind Jeff Waters, der als Gitarrist, Sänger, Produzent und Songwriter maßgeblich den Sound der Band prägt.

Ab dem 6. Juni 2025 startet earMUSIC eine umfassende Reissue-Reihe auf CD und Vinyl, beginnend mit den Alben "King Of The Kill" (1994), "Refresh The Demon" (1996) und "Remains" (1997). Alle erscheinen in neu remasterten Versionen, mit überarbeitetem Artwork und brandneuen Liner-Notes. Diese Reihe zeigt eine Band, die sich stetig weiterentwickelt hat.

Erstmals werden unter dem Titel „More Noise“ auch Demos und Bonustracks aus den jeweiligen Album-Epochen gesammelt auf CD erhältlich sein.

Für alle, die sich nach dem doppelläufi gen Schlag von "King Of The Kill" gerade erst wieder aufgerappelt hatten, war "Refresh The Demon" genau das, was der Arzt verordnet hätte. Laut Waters war es eine Fortsetzung derselben kreativen Rolle, die "King Of The Kill" inspiriert hatte, und fühlte sich wie ein zweiter kreativer Aufschwung an.