Pop & Rock Vinyl New Releases - News

In a career of myriad highlights Nightclubbing remains the high water mark of Grace Jones's imperial years with Island Records. It is indisputably the album on which her musical legacy rests, and rightly considered one of the greatest albums of all time. A sophisticated melee of sound, blending post-punk cool with a hot Caribbean vibe and a catwalk Studio 54 sensibility, it's a perfect example of artist and musicians working in complete accord.

It contains the all-time Grace classics in "Pull Up To The Bumper", "Walking In The Rain", "Demolition Man" (written by Sting) and of course the Bowie / Iggy Pop-penned title track. There is magic in its every groove. In keeping with its reputation as one of the best sonically sounding albums of the '80s and for the first time since its debut in 1987, Nightclubbing has been comprehensively remastered using the latest studio technology.

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

‘Hidden Lines’ is the debut album from rising jazz/electronica outfit

Kinkajous. Recorded by Jordan Rakei drummer Jim Macrae and mixed by

producer Brendan Williams (GoGo Penguin/Dutch Uncles), the sublime,

interwoven melodies and drums invoke the likes of Steve Reich, Floating

Points and BADBADNOTGOOD.

Superb jazzy edits collection by the always good Lego Edit. This is something that you can't miss!y

"Birds Of Fire" - John McLaughlin (g); Jerry Goodman (v); Jan Hammer (keyb, synth); Rick Laird (b); Billy Cobham (dr)

Of the three 'incarnations' by the spiritually inspired Mahavishnu Orchestra, the first is the most full-bodied. The enlightened John McLaughlin and his musicians were immortalized through their début album "The Inner Mounting Flame", which was included in the list of the 100 Best Jazz Albums; a short time later they recorded their highly concentrated studio compilation "Birds Of Fire". Long before today's saleably labelled World Music, the quintet set the standards for a meaningful amalgamation of dynamic rock with complex Indian rhythms and occidental conventions. Already in the title piece, the musicians combine a sharpened Hendrix style with expansive melodies, and with smacking grooves and fine riffs draw all that is grand in jazz ("Miles Beyond") into the musical centre. With almost chamber-music-like density, "Thousand Island Park" blossoms out in soft colours, whilst as a contrast unremittingly flowing cascades in "Hope" search desperately for their destination.

It is thrilling how finely weighed patterns ("One Word") escalate to techno-like violin playing and how the listener is invited to take part in an inner procession in the following "Sanctuary". After such soaring heights, we are brought back to earth with a familiar funky sound in a popular, pastoral vein ("Open Country Joy") before taking off abruptly once again: in the final piece, "Resolution" with its slowly rising carpets of sound, all that is sublime in New Music conquers over world cultures.

Bei den Aufnahmen zu ihrem elften Album 'The Bad Fire' in den schottischen Chem19 Studios wurde die Band von Grammy-Preisträger und Produzent John Congleton (St. Vincent, Angel Olsen, John Grant) unterstützt. 'The Bad Fire' ist eine schottische Redewendung für die Hölle und wurde von einer Reihe belastender persönlicher Momente inspiriert, die die Band nach ihrem zehnten Album, dem Chartstürmer 'As The Love Continues', durchmachte. (Das Album setzte sich bei Erscheinen auf Platz 1 der britischen Albumcharts, in Deutschland auf Platz 3.)

Doch ging es der Band nie darum, Karriere zu machen, vielmehr war Musik schon immer eine Form der Flucht, des Entkommens aus der Zeitenfalle. Und des Ankommens im Hier und Jetzt. Das trifft auch heute noch zu im jetzt schon 30sten Jahr ihres Bestehens. Die Zeit steht für einen Moment still. Lauscht man der Musik nur mit ausreichender Aufmerksamkeit und Lautstärke.

- 2LP+DL (schwarzes Vinyl in einem Gatefold-Sleeve mit MP3-Download-Code und einer geätzten Seite)

Bei den Aufnahmen zu ihrem elften Album 'The Bad Fire' in den schottischen Chem19 Studios wurde die Band von Grammy-Preisträger und Produzent John Congleton (St. Vincent, Angel Olsen, John Grant) unterstützt. 'The Bad Fire' ist eine schottische Redewendung für die Hölle und wurde von einer Reihe belastender persönlicher Momente inspiriert, die die Band nach ihrem zehnten Album, dem Chartstürmer 'As The Love Continues', durchmachte. (Das Album setzte sich bei Erscheinen auf Platz 1 der britischen Albumcharts, in Deutschland auf Platz 3.)

Doch ging es der Band nie darum, Karriere zu machen, vielmehr war Musik schon immer eine Form der Flucht, des Entkommens aus der Zeitenfalle. Und des Ankommens im Hier und Jetzt. Das trifft auch heute noch zu im jetzt schon 30sten Jahr ihres Bestehens. Die Zeit steht für einen Moment still. Lauscht man der Musik nur mit ausreichender Aufmerksamkeit und Lautstärke.

- 2LP+DL (schwarzes Vinyl in einem Gatefold-Sleeve mit MP3-Download-Code und einer geätzten Seite)

After an extensive tour of the UK at the end of 2022, the band decided to head into the studio to record their first long form offering. Following a passion for storytelling, they pulled together influences from Pulp Fiction to Fleabag, from Zadie Smith to Edward Hopper. They wrote relentlessly during 2022, diligently crafting what was to become this debut album. Released independently on their own Life and Times Recordings, Exit Strategy is a 13-track labour of love, recorded at Abbey Road Studios and Love Electric, enlisting the production smarts of Bernard Butler. The album is in two halves (divided literally by the two sides of the vinyl edition) entitled Galway and London and presents a multifaceted band, pushing themselves and exploring the limits of their philosophy.

Exit Strategy centres around a protagonist who moves from Galway to London in search of meaning, certain that, as the main character in the film of his own life, the solution lies in changing his surroundings and acting as someone he’s not. Both a mirror and a portal, the album promises encounters with manipulative bosses, evil ad agencies, a broken pact to flee to Australia, run-ins with the law, cheating boyfriends, drug fuelled youths, heartache, paranoia, social media anxiety and a drunk singer dressed as Jesus. Thematically the album races between emotions, between irony and sincerity, between soul searching and tongue-in-cheek finger pointing and ends where it all started, both musically and in terms of single rollout, with the nostalgic/euphoric first single Westway.

Explaining the album’s genesis and cinematic influence, James McGregor says: “We were always sure we wanted the album to be greater than the sum of its parts, so decided to create the world of a film, entitled Exit Strategy. We envisaged the record as a series of snapshots, telling the story of a group of characters trying to navigate through life.”

Hallmarked more by a philosophy than a sound, The Clockworks weave pop sensibilities with noisy, post-punk, rock-influenced stylings. The songs seem swaggering and dark yet often have an epic, nostalgic quality. They sit poetic introspection beside witty, kitchen sink drama to create something intense but playful.

With the release of Exit Strategy, The Clockworks have created a world to be explored, to be analysed and to be deciphered, but most importantly to be felt.

Polistrumentalist, composer and producer Alex Puddu (Al Dente/Schema Records), also known for his collaborations with Edda Dell'Orso (Maestro Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan from L.A funk band War, and Gene Robinson Jr of Breakwater, and who boasts a solo discography of 17 albums, including the three original volumes of the red light soundtracks of Danish films" The Golden Age Of Danish xxxography. He debuts for the first time with a new double single sang in Italian language, with two tracks "Pullover Grigio" and Texas Blonde", proposing a new sound that draws us into the Italian funk pop music of the late 70s and early 80s and into the pop/indie melodies of the new Italian scene, up to electronic sounds (as Calcutta, Fulminacci, Fra Quintale, Marco Castello and Nu Genea have done), between soul and disco, which are part of Alex Puddu's unmistakable production style. Don’t Miss It!

In den acht Jahren, seit sich Amyl and The Sniffers in Melbournes brodelnder Musikszene zusammengefunden haben, hat es die Band perfektioniert, Verspieltheit und rohe Wucht zu kombinieren. Mit den zwei bisher erschienenen, einhellig gefeierten Alben (dem selbstbetitelten Debüt von 2019 und "Comfort To Me" von 2021), haben Sängerin Amy Taylor, Gitarrist Declan Mehrtens, Bassist Gus Romer und Drummer Bryce Wilson ihren einzigartigen Stil etabliert. Seit dem Release von "Comfort To Me" haben sich die Perspektiven für die Band in jeder Hinsicht exponentiell erweitert. Größer, klarer, smarter, schärfer, das ist es, was nun auch das dritte Album der Band antreibt. "Cartoon Darkness" hat die Band zusammen mit Nick Launay im 606 Studio der Foo Fighters in Los Angeles aufgenommen, am gleichen Pult, an dem schon Fleetwood Macs "Rumours" und Nirvanas "Nevermind" entstanden. Es ist ein überraschend abwechslungsreiches Album und reicht von klassischem Punk über den strotzenden Glam der Single "U Should Not Be Doing That" bis zur ausgelassenen Balladenhaftigkeit von "Big Dreams". Auf "Cartoon Darkness" geht es um Krieg, die Klimakrise und künstliche Intelligenz, um Politik und das Gefühl, online eine Stimme zu haben, während wir am Ende doch einfach nur das Daten-Biest Big Tech speisen, unseren Gott der Gegenwart. Es geht darum, wie unsere Generation mit Informationen vollgestopft wird, wie wir wirken wie Erwachsene und dabei doch für immer Kinder bleiben, abgeschirmt wie in einem Kokon und dabei all die Ablenkungen verschlingend, die uns nicht einmal Wohlbefinden oder Freude bereiten, sondern einfach nur Taubheit. "Cartoon Darkness" rennt mit dem Kopf durch die Wand ins Unbekannte, in die heranziehende Ahnung einer Zukunft, ein kindliches Dunkel, das sich schrecklich anfühlt, aber noch gar nicht existiert - ein großer rauer Spaß.

Sonor Music Editions is honored to announce the reissue of the very rare LP Aquarium Sounds by Italian composer Filippo Trecca. Originally released in 1979 as a promo-only item, “Aquarium Sounds” is a hybrid collection of tracks; some were used as the soundtrack to the thriller TV series “Così Per Gioco” (1979), directed by Leonardo Cortese; others from the talk show “Acquario” (1978-1979) hosted by Italian journalist and writer Maurizio Costanzo. The album also includes “Elena Tip” which features playful vocals by a young Ilona Staller (aka Cicciolina).

Aquarium Sounds were composed by Trecca himself, Achille Oliva (bass), Alessandro Alessandroni Jr. (keys), Giancarlo de Matteis (guitars), and Marco Parisi (drums), playing together for the creation of this progressive pop gem sought after by many collectors from around the world.

The album, recorded using simple acoustic elements and early synths, is a treasure buried deep into the ocean of time that Sonor Music Editions is bringing back to the surface; a journey into the depths of our music memory as well into the universe of Italian music heritage.

KahruMusiqa ist eine musikalische Retrospektive der tunesischen Sängerin und Komponistin Badiâa Bouhrizi alias Neysatu. Sie ist als Autorin der Protestsongs bekannt, die zu den Hymnen der tunesischen Revolution wurden. KahruMusiqa bedeutet elektronische Musik, wird aber im Arabischen nie als solche verwendet, um das Genre zu bezeichnen. Das Album ist eine Sammlung von Klangexperimenten, die entstanden, als sie in den 2000er Jahren erstmals Musikproduktionssoftware in die Hände bekam. Die Stücke basieren auf Gedichten in klassischem Arabisch oder tunesischem Dialekt, die Badiâa selbst oder von ihr bewunderte Dichterinnen wie die palästinensischen Autorinnen Fadwa Tuqan oder Salma Al Jayusi oder den tunesischen Dichter Noureddine Werghi verfasst hat. Die meisten der Gesangsstücke sind Improvisationen, die mit einem Computermikrofon aufgenommen wurden. Eine Bearbeitung des klassischen türkischen Volkslieds Muhabbat ist fast eine moderne harmonische Neufassung, bei der nur klassische Gitarre, Gesang und Delays verwendet werden. Die Themen von KahruMusiqa entsprechen dem ideologischen Weg von Badiâa Bouhrizi. In dem Lied Transrimel ist sie eine queere Frau im sich bewegenden Sand von Tunesien. Sie hinterfragt auch den politischen Vertrag, der 1948 zu Balfour und der Vertreibung von Millionen von Palästinensern führte, und beschreibt in Fil Madinatil harima ("In The Old City") eine Reise zwischen London und Nablus. Dieses elektronische Schlafzimmer-Album im Lo-Fi-Stil enthält auch mehrere Songs, die wie Ila Selma zu Klassikern des arabischen Underground-Milieus geworden sind, und ist die erste Platte, die Badiâa Bouhrizi überhaupt zu veröffentlichen bereit war.

In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recordi ng the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rootedin American blues traditions. Cut withFrench and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon , this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of inde terminate origins. (Jason Ankeny, AMG)

Revelatory reissue of Barney Wilen’s ambitious jazz-fusion journey, Moshi (1972), presenting the legendary French jazzman and Miles Davis-sideman’s wildly ambitious effort fusing recordings of Pygmy tribes with African rhythms and stellar avantjazz leanings, sounding little like anything before or since its release. (boomkat)

Super rare and long out of print, the ground-breaking 1972 album from saxophonist Barney Wilen receives a reissue treatment of the highest order. Complete with a 20-page booklet and a never before seen DVD chronicling Wilen’s trip to Africa, this one is sure to be a delight for fans old and new. The deepest spiritual jazz grooves meet field recordings from the Upper Volta and b eyond, whilst psych rock influences collide with hypnotic and shamanistic percussion work. Truly one of the most out -there jazz records we’ve stocked for a long time! (bleep)

Originally issued by the seminal imprint Saravah in 1972, and among the most uncategorizable and sought after artefacts of the French avant-garde, Barney Wilen’s Moshi is nothing short of a masterpiece - long holding a coveted spot in the hearts of adventurous listeners and record collectors alike. A wild unkept cultural collage. A series of sonic experiments. A spiritual, psychedelic pilgrimage into the unknown - darting from one continent to the next, each of its tangents building toward a more optimist world view through ordered sound. Its scope remains as difficult to understand today as it was when it was released. Now brought back into the light by Souffle Continu, this is a moment to be celebrated far and wide. (Soundohm)

Deluxe reissue with additional artwork & remastered audio. 20-page booklet including rare pictures, sheet music & original liner notes. Bonus DVD with exclusive artwork of Caroline de Bendern’s movie « à l’intention de Mlle Issoufou à Bilma » documenting this incredible african journey.

For its second release, Providenciales Records was able to unearth a previously unreleased album from the Buster Brown Band, featuring Kelly McNulty (from the Tagg/McNulty Band), Roger Burton (from the Bee's Knees), Jim Casey, Gregg Bissonnette (Ringo Starr's drummer), among others ...

Inspired by some of the best Soul, AOR and Funk artists, the band recorded these demos in studio in 1982 thanks to their local success in Dallas, TX, at the popular Popsicle Toes venue (the album title).
“Baby Don’t Lie” starts the album with a beautiful and mellow Soul / AOR introduction, while the following tracks, “Day Or Night”, “Endless Possibilities”, “Shock Proof” and “Say It” complete the LP with their Soul / Funk touch. There is even the first version of "Baby Don't Lie" as closing track, which was recorded 5 years before, in 1977.

Band members have collaborated with artists such as Lee Ritenour, Ringo Starr, Harvey Mason, The Isley Brothers, Smokey Robinson, Kenny Pore, Eric Tagg, and much more…

Liner notes (including exclusive pictures) and full story of the band by the one and only Grammy awarded David Ritz (co-author of "Sexual Healing" with Marvin Gaye)!

Limited edition of 500 copies, fully remastered!

Der FotoGraf comes from Oberhausen/Germany and has played in various indie/garage/punk bands. With the new album he has transported himself back to the 80s. This is where his beginnings and first ideas lie, which he brilliantly implemented musically. Post-Punk at its best.

Back in 2007, three DJs from a mountainous region in Austria called
Vorarlberg teamed up to form Struboskop.
They’ve always been huge Jazz, Funk and Disco lovers, Hip-Hop
heads and House aficionados at the same time –– and after moving
their homebase to the Austrian capital, Vienna, they’ve made
themselves a name for their versatile and eclectic productions and
DJ sets.
They’re also pushing boundaries with their newest side project
Duboskop, merging hypnotic dub sounds with cheesy 80s pop hits.
Be prepared to expect more craziness from them in the future!
ESSENTIAL!!

Dummy is a rock band from Los Angeles comprised of Alex Ewell, Emma Maatman, Nathan O'Dell, and Joe Trainor. Their debut full-length "Mandatory Enjoyment" (Trouble in Mind) arrived in late 2021, becoming one of the year 's sleeper hits and garnering praise from Pitchfork, Stereogum, and more. Coming out of lockdown, the band spent two years touring in support of the record, and it is this transformational experience that pulses through "Free Energy ", the exhilarating follow-up to "Mandatory Enjoyment". A creatively restless band, Dummy (Ewell: drums, synths, bass; Maatman: vocals, synths, organ; O'Dell: vocals, guitar, organ; Trainor: guitar, bass, synths) wanted to get harder, dancier, more psychedelic for their next record. This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor 's guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedbackThe result is a record that celebrates music's ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine_or, if you're Dummy, maybe all of them in the same song. Pop music has always been a big part of Dummy's sound and it manifests in different ways all over Free Energy: the bubbly synth sequence made with a Korg EM1 popping all over "Nullspace," the revved-up drone-pop inspired by second and third wave Dunedin Sound bands like Look Blue Go Purple and Dadamah, and the motorik beat powering "Nine Clean Nails," perhaps the most confidently pop song Dummy has ever recorded and one that exemplifies "Free Energy "'s balancing of live performance intensity with electronic augmentations, the dancier rhythmic elements created out of a drum loop recorded by Ewell while the bridge recalls the Feelies with call-and-response guitars from O'Dell and expressive vocals from Maatman. "Free Energy " also features guest appearances from Oakland-based saxophonist and electroacoustic artist Cole Pulice (Moon Glyph) contributes saxophone and wind synths and Jen Powers of Powers / Rolin Duo (Astral Editions, Feeding Tube Records).

Black Midi war von Anbeginn der Band ein illustres wie kreatives Tummelbecken für die Mitglieder der britischen Band - nun löst sich Geordie Greep mit seinem am 4. Oktober bei Rough Trade Records erscheinendem Solo-Debüt noch mehr von jeglichen Einschränkungen und Kompromissen! Eines der Hauptthemen von Anthony Powells Roman "A Dance to the Music of Time" ist der Kontrast zwischen jenen Charakteren, die nur von Macht getrieben werden, und jenen, die mehr mit den sinnlichen Freuden des Lebens in Einklang stehen. Unweigerlich holen die Zeit und das Schicksal jeden Protagonisten ein, und der Leser kann darüber nachdenken, ob ihr Schicksal gerechtfertigt ist oder nicht. "The New Sound" wirkt oft wie eine Wiederholung von Powells Thema, untermalt von einem schrägen - und völlig verkabelten - Palm Court Orchestra. Das Album ist mit Sicherheit eines, das den Hörer über die gesamten elf Tracks hinweg voll in seinen Bann zieht. Greep: "Ich war besorgt wegen der Länge, um nicht zu viel zu verraten. Aber ich bin es auch verdammt leid, Musik zu hören und im Voraus zu wissen, was sie bedeutet oder was sie zu tun versucht. Bei all meiner Lieblingsmusik geht es darum, dass der Hörer sich mit dem auseinandersetzt, was vor sich geht. Meine Lieblingssänger, wie Peter Hammill oder Nat King Cole, sind buchstäblich einmalig. Das liebe ich. Vor allem bei Texten, bei denen man nicht genau weiß, worum es geht, aber man weiß, dass es nicht nur abstrakte Gedanken sind."

A sunny and flamboyant spirit, the brazilian João Selva carries us away with his new wave album “Onda” - Underdog Records /2025.

Navegar (“to sail”) in 2021, Passarinho (“lit-tle bird”) in 2023... through the titles of these last two albums, João Selva will have displayed his ambitions and ideals: to fluidly and swiftly connect the musical components of a Black Atlantic that would extend from Brazilian samba to Angolan Semba, from Cape Verdean funaná to Caribbean zouk via Congolese rumba and American funk. His new album Onda continues to ride this same wave, crowning a luminous transatlantic artwork, imbued with sensuality and joie de vivre.

Obliques presents Poème symphonique. Electronic music composer Jonathan Fitoussi revisits Symphony No. 1 “Titan” by Gustav Mahler as part of a world creation commissioned by Radio France. Concert recorded live in the large auditorium of La maison de la radio on November 18, 2023, Paris.

Limited Edition clear vinyl LP - No Digital

Following his 2021 debut on the reverse label with Retreat Ites EP and a spot on the Molten Mirrors compilation, Jurango is back on Livity Sound with another four tracks of low-slung soundsystem pressure.

On An Amorphous Mass EP Jurango presents a particularly focused sound which draws on halftime D&B, dancehall and broken techno all filtered through the meditative pulse of low tempo club music. The measured pace of the tracks doesn’t detract from their weight, whether it manifests in the heavy roll of murky opener ‘Big Saver’, ‘Inner Seam’s mutant dembow rhythm or the heady breakbeat chops of the title track. The stripped-back subs and fractured percussion of ‘Muni Ce Boa’ close the record in potent yet understated style, proving minimal music doesn’t have to compromise on impact for the dance.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Manifesting a soporific vision of classic dreampop, Man Rei lands on Glasgow’s Somewhere Press with one of the years most memorably hushed albums; unfolding through an hour of quietly soaring songs that split the difference between Enya, Seefeel and Grouper.

Kristin Reiman, aka Man Rei, elevates and expands the choral tradition of their Baltic homeland with the smudged drift of this quietly epic new album. A moody, dimly lit summoning of ambient music touched by the enduring influence of classic dreampop, it’s a record full of pared-down arrangements and luxurious instrumentation, elevated by goosebump inducing vocals that make the thing so memorable.

The soothing pulse of Kranky's early years (think Labradford or even Windy & Carl) moves with tranquil momentum, playing faded lower-register riffs to accent a pervasive longing in the lyrics. On 'Edge knot city', the influence of Harold Budd and the Cocteau Twins' hangs in the air as Reiman marries muted electric piano with pastoral field recordings. That voice, blurred at the edges to enhance its ambiguity, cuts through the clouds like a knife, inserting a melancholy earworm into wafting ambiance. Even the lengthy 'Intermission', a wordless piece, maintains a masterful balance between emotional weight and atmospheric vapour.

On 'Witless', they bury the fragments of a love song beneath synth distortions, turning pebbly, slapbacked claps into a rickety rhythm on 'The thread', cooing over piano phrases that vanish into the aether until that voice takes over completely. It's gorgeous, restless and confident material that immediately sinks itself deep into the psyche - its familiarity is almost a smokescreen; the closer you listen, the stranger and more beautiful Man Rei’s world becomes.

Nous'klaer Audio proudly presents Nicola Cruz's latest full-length album, Kinesia. On his third studio album, the Ecuadorian producer masterfully blends rich studio sessions with deep analog synthesis. Kinesia invites the listener to channel an inner voice - to pick up thoughts, words, and messages as if ancient information traveling through time has been received. This album functions as a form of 'antenna,' translating these ideas into compositions and movement. The album begins with a 5/4 rhythm structure, summoning the voice of machina into a textural atmosphere, led by Perma, Nicola's vision of an infinite breaks vortex, and sustains the tension with the meditative Telepathine, a substance fictionally associated with telepathy. Regardless of the tempo, each track is intricately laced with chants, subtle percussion, textures, and spacious details that draw you back for more. With Kinesia, Nicola Cruz continues to evolve his signature sound and takes you along for the ride. While the album is crafted for a deep, introspective journey, the kinetic influence remains ever-present on dance floors.

Born in Australia and moving to the UK in her early 30s, Peggy O’Keefe became the resident pianist at the Chevalier Casino in Glasgow in 1962. Initially the residency was for six months, which then turned into six years. It was at this point she recorded her 'Mood Chevalier' LP in 1966, a collection of the band’s favourites but the gold is found in her version of 'Cubano Chant', made famous by Art Blakey and then played across jazz dances ever since.

Peggy’s playing was admired by Cleo Laine and Oscar Peterson, and once had a brief, impromptu duet with Frank Sinatra, Peggy and her band showed their true talent with these two versions of jazz favourites.

Hiding in the shadows for nearly 60 years, Now PANORAMA unearth this gem in their trademark 7 inch format, from a Glaswegian restaurant to a dancefloor near you.

PANORAMA Records is an emerging new label based in London, dedicated to rediscovering and showcasing musical gems with a fresh approach. With early support from notable DJs such as Gilles Peterson, Patrick Forge, Rainer Trueby, Mr Bongo DJs and Zag Erlat from My Analog Journal. Their unique take on Jazz and Funk from the further afield has shown they will become trailblazers in the reissue game for a long time.

Deluxe Edition, Double LP, Gatefold, alternative Cover. Comes with three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Aqua Blue Vinyl, limited to 500 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deep purple vinyl, limited to 500 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Deluxe Edition, 2LP, Gatefold, alternative Cover. Plus three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Color-In-Color Transp. Yellow / Pink Neon Splatter Black Vinyl Limited to 150 copies. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

Die neuseeländische Musikerin und Produzentin Princess Chelsea präsentiert ihr kommendes "nervous breakdown album" "Everything Is Going To Be Alright", das im pastoralen Aotearoa Neuseeland aufgenommen wurde und eine Art Trostspender ist. Es sind keine traurigen Lieder, sondern die beiden Eröffnungs- und Schlusstracks erzählen von Chelseas Genesung und sind als kathartischer Hörgenuss für alle gedacht, die es brauchen könnten. "If you feel you want to die / trust me darling / it just takes time", singt sie in "Time". In der Zwischenzeit zeigen Chelseas sorgfältig geschichtete Gesangsmelodien über Mellotron-Flöten und Harfe, verwoben mit Live-Cello und Violine, ihre Fähigkeiten als Arrangeurin und Produzentin. Princess Chelseas cineastischer, verträumter Pop hat sich in elf Jahren, fünf Alben, einer EP und elf Singles weiterentwickelt. Ihre Vortragsweise und ihr Songwriting zeichnen sich dadurch aus, dass sie eine fast naive Ernsthaftigkeit mit zynischem, augenzwinkerndem Witz und akustischen Funken überlagert. Ihr Grunge-Girlgroup-Song "I Love My Boyfriend" aus dem Jahr 2018 und ihr von Nancy & Lee inspiriertes "Cigarette Duet" aus dem Jahr 2011 haben ihren Bekanntheitsgrad durch den Einfluss einer neuen TikTok-Generation in das öffentliche Bewusstsein gerückt. Für dieses Album wurden Chelseas Instrumentalarrangements von ihrer Live-Band inspiriert, die die Schlafzimmerdemoaufnahmen mit einem überraschenden Sound interpretiert hat. Es klingt anders, als man vielleicht erwarten würde. "The Forest" wurde live in einem Take mit Chelsea und der gesamten Band im beliebten neuseeländischen "The Lab" aufgenommen und zeigt dynamische Gitarrenwände und eine leidenschaftliche Gesangsperformance. Es ist eine markante Abweichung von ihrem bisherigen Schaffen und stellt eine weitere Einführung in das dar, was sie seit der Veröffentlichung der verträumten und doch düsteren Single "Everything is Going To Be Alright" im Februar als ihr "Gitarrenalbum" bezeichnet hat. Chelseas Fähigkeiten als Arrangeurin und Produzentin kommen auf dem Album voll zur Geltung, aber oft in Form von komplizierten Gitarrenarrangements, die an The Cars und die Breeders ("Forever is a Charm") und an klassische neuseeländische Flying Nun-Bands der 80er und 90er Jahre ("Love is More") erinnern. Obwohl das Album eine deutliche musikalische Entwicklung darstellt, sind ihre Markenzeichen immer noch da - klassische 80er Jahre Synths (Yamaha DX7, Roland D-50), vielschichtige Melodien, orchestrale Instrumente, verträumter Gesang, verdrehter Pop, der oft Vergleiche mit Julee Cruise oder Enya gezogen hat.

This EP is the first release to mark the start of a new adventure, illustrating Rude Jude's commitment to a smooth and melodic vintage sound.

Featuring 3 original songs, a cover and an epilogue, it is deeply inspired by the legends of Adult Oriented Rock and a mix of 70s/80s Soft Rock, Jazz and Pop.

The contribution of the talented vocalist, songwriter and violin player, Jon GK can't be understated in creating and interpreting these songs. All the parts are played by musicians and the production is made through as much analog gear from that era as possible. It is not just a tribute but an attempt to carry the torch and bring something new to the current music landscape.

By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on European works. The result is a surface that creates an illusion by sound. The infusion of Min’yō with jazz rock, this hazy scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and space.

The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer, Wurlitzer electric piano and electric bass.

This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation to generate new ways of looking at the world, here and now.

2024 Reissue

"Still Smiling" is the first album of songs written in four hands by Teho Teardo and Blixa Bargeld; a work conceived and composed over two years, with dedication, working side by side, deciding and choosing every sound, every word, every silence together. The album, contains 12 songs: 10 previously unreleased, a new version of "A Quiet Life" and the cover "Alone with the moon" by Tiger Lillies. On the album, recorded between Rome and Berlin, in Teardo"s Rome studio and in Einstürzende Neubauten"s "Andere Baustelle" (the historic band of which Bargeld is leader), cellist Martina Bertoni and the Balanescu 4et collaborated. Teho and Blixa dialogue in symbiosis, Blixa"s deep and intense singing ranging from Italian to English and German, Teho"s music sublimating and enchanting between strings, electronics and experimentation. The maturation of ideas and intentions, in the numerous journeys between the two capitals, the desire, listening and meeting of their respective expressions, have left their mark. Still Smiling is a record that gives time, it is a privileged vision that covers all the sky between Rome and Berlin. The collaboration between the two artists began in 2009 for "Ingiuria", a performance by Raffaello Sanzio"s "Societas" that featured Alexander Balanescu on stage in addition to Bargeld and Teardo. In 2010, Bargeld and Teardo collaborated again to record A Quiet Life, the title track of the soundtrack of the film "A Quiet Life" with Toni Servillo. After these two experiences, a strong understanding and artistic affinity was born, which has led to the genesis of "Still Smiling".

2024 Repress

Red Laser's Il Bosco had his mind blown when Felix Dickinson dropped this monster remix when playing the labels club night at the legendary White Hotel in Manchester.

The RL crew were surprised to learn this remix had never been released and immediately contacted ET to secure a full vinyl only release along with the epic original mix.

Since then, this has been an anthem at the Red Laser White Hotel residency and beyond. Don't sleep on this epic slab of anthemic synth jizz.

A collection of 18 rare disco tracks from Yugoslavia. Compiled by Leri Ahel & Zeljko Luketic from original master tapes. Fox & His Friends label owners Ahel & Luketic selected obscure 7'' singles, b-sides, out-of-print releases and digged deep into the vaults of Jugoton to tell the story of how disco infiltrated clubs and pop music. This compilation is vinyl counterpart to their pioneering research and work in two major exhibitions tracing roots, influences and social significance of disco in music, fashion and design held in 2015 in Klovicevi Dvori Museum and HDD Gallery in Zagreb. "Socialist Disco - Dancing Behind Yugoslavia's Velvet Curtain 1977-1987" double gatefold LP with extensive liner notes contains tunes from KIM Band, Gabi Novak, Arian, Ljupka Dimitrovska, Ana Sasso, Moni Kovacic, Milka Lenac, Rok Hotel, Ivica Surjak, Grupa ST, Nano Prsa and many more in various sub-genres including classical orchestrated disco, dance reworkings of international chart hits and synth-filled italo-disco stompers performed by Yugoslavian music stars, fashion models and even sports and football heroes. Disco, a vital Trojan horse (in local notion: a pop music you can dance to), stayed quite a long time In Yugoslavia, refusing to be silenced and refusing to jump into the bandwagon of expected. It was influenced by American and European disco sound, for example, by the Boney M, Amanda Lear or Love Machine, who all visited Yugoslavia and had live concerts. The producers and the big record companies like Jugoton, PGP RTB, Diskoton or ZKP RTVL, noted the hype in music and they constantly probed the market with limited run of seven inchers or special performances. Some artists were quite successful, but the rest were in the 7'' single empire which was free enough to experiment with all things disco had to offer - genre hybrids, use of electronics, sexual innuendo, bizarre lyrics and most importantly, great musicians and major composers having fun. The no-restrictions policy of disco was there to evade the rules and surely it did.

Die Wahl-New-Yorkerin Yaeji hat sich in den letzten Jahren als Produzentin, Sängerin und DJ mit ihren introspektiven Dance-Floor-Hymnen eine ganz eigene Nische geschaffen. Nach der Veröffentlichung ihrer Debüt-EPs, sowie den Singles "Raingurl" und "Drink I"m Sippin On" in 2017, war sie auf Charli XCXs 2019er Album "Charli" zu hören, remixte Songs für Dua Lipa oder Robyn, kollaborierte mit dem Seouler-Künstler OHHYUK, verkaufte weltweite Headline-Touren aus und eröffnete ihren eigenen Lifestyle Webstore JI-MART. Ihr Sound und ihre Einflüsse sind dabei so vielschichtig wie ihre Herkunft. Geboren im Jahr 1993 in New York reicht ihr Stammbaum von Seoul über Tokyo bis nach Atlanta - Einflüsse die sich in ihrer Musik in Form von koreanischem Indie-Rock und Electronica, 2000er Hip-Hop, sowie Leftfield Bass und Techno wiederfinden. Mit ihrem 2020er Mixtape "WHAT WE DREW“ schärfte Yaeji noch mal ihre Vision als Musikerin, die kreativ losgelöst von Sprachen Genre-Grenzen zu sprengen vermag - kein Wunder, dass sie daraufhin von Pitchfork 2022 zu einer der "25 Artists Shaping the Future of Music" ernannt wurde. Die nahe Zukunft wird sie ebenfalls prägen. Schließlich erscheint am 7. April nun endlich das Debütalbum "With A Hammer" bei XL Recordings. Entstanden innerhalb von zwei Jahren in New York, Seoul und London kurz nach der Veröffentlichung des Mixtapes und während den Lockdowns ist es eine Ode an die Erforschung ihrer selbst, setzte sie sich doch dabei mit ihren eigenen Emotionen auseinander - besonders mit ihrer eigenen, in ihr brodelnden Wut. Während sie textlich zwischen englisch und koreanisch springt, nutzt sie erstmals auch Live-Instrumente, sei es in Form von einem Ensemble an Musikern oder auch zum ersten Mal sie selbst an der Gitarre. "With A Hammer" beinhaltet darüber hinaus auch Features der Produzenten und engen Verbündeten K Wata und Enayet, sowie Gast-Vocals der Londonerin Loraine James und von Nourished by Time aus Baltimore.