Pop & Rock Vinyl New Releases - News

The follow-up to 2017’s critically-acclaimed ’Freedom Is Free’ is also their most sonically-varied and cohesive.

 The record is a statement of hope, a proclamation that we are all invisible people, and that despite race, class, or gender we can overcome our differences and stand together.

 For the album, the band worked with Shawn Everett, the Grammy-award winning mixing engineer known for his work with Alabama Shakes, War on Drugs, Kacey Musgraves, and Julian Casablancas.

 With Leon Michels’ (Sharon Jones & The Dap-Kings, Lee Fields & The Expressions) producing and Everett’s mixing steering the record’s direction, the band’s lush Tropicalia-tinged sound has transformed into their most polished and densely layered.

 ‘Invisible People’ is an illuminating and encapsulating sonic landscape, one that hasn’t lost the essence that put Chicano Batman on the map.

 “Collide soul, surf and Tropicália into a raging blend of fire and excitement" – Rolling Stone.

 “A pitch-perfect voice of the resistance”- Billboard

 “A deeper dimension of sly pop culture references, unapologetic Latin pride, and the thoughtful exploration of popular music's all pervasive black roots"- Noisey.

 “Laid-back lounge grooves and a funky swagger” - NPR.

 "You need to know Chicano Batman... with their combination of soul, pop, tropicalia and psych" - Guardian.

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of »using the studio as a compositional tool« and recorded and released three Dome albums on their own label in the space of 12 months: »Dome« (July 1980), »Dome 2« (October 1980) and »Dome 3« (October 1981). A final fourth album, »Will You Speak this World: Dome 4« was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

ALL TRACKS WRITTEN & PRODUCED BY RENALDO AND THE LOAF

COVER DESIGN & LAYOUT BY NIK VOID

ORIGINAL ALBUM ARTWORK BY GARY PANTER

RE-MASTERED FOR VINYL AND CUT BY RASHAD BECKER AT D&M, BERLIN, NOV 2018

LARVAE RECORDED AT ODD TIMES AT SNEFF'S SURGERY BETWEEN NOV. 1979 & NOV 1980

ORIGINAL MIXED AT ELEPHANT STUDIOS, LONDON NOV 1980

SURGERY SELECTIONS RECORDED DURING 1980 AND 1981

© ROTCOD PRODUCTIONS 1981 & 2013

THIS VINYL REISSUE MANUFACTURED & RELEASED BY EDITIONS MEGO, 2019

A biomedical scientist and an architect form a band in the early 70's with nothing by the way of traditional musical talent or skill but with endless enthusiasm and their own unique musical sensibility.

The ensuing career and creative output of this ongoing home studio / bedroom band remains one of the most significant song based 'outre' catalogues ever produced in the United Kingdom. This comprehensive 2 LP (+7" for first 300 copies) set contains their first official LP (originally released on The Residents legendary Ralph records label) along with an extra album of different versions and extra tracks which reside here for the first time on vinyl.

The duo Renaldo & The Loaf, originally Portsmouth based, now in Portsmouth and Mid-Wales, remain an enigma whilst amassing an enormous cult following worldwide. Their singular take on music encompasses wit, strange melodic construction and an off kilter

sensibility which successfully rendered them engaging for each emerging generation. The ability of Renaldo & The Loaf to unnerve and entertain in equal measure is what binds these songs to a musical universe outside of all other forms that existed around the time of release. The Residents are obvious spiritual heirs.

Songs For Swinging Larvae is a classic collection of confounding songs which lead the listener into a surreal world of twisted tunes and perverted pop. Songs from the Surgery is made up of improvisations, early/alternative versions of various Larvae tracks and unreleased

pieces from the same period.

The results leave one laughing through a thick veil of unease. As the original Ralph records press release said of Songs For Swinging Larvae: "This is an album of primitive modernism, energetic obnoxious noises, manic high pitched vocals and sweet brilliance





























27. The Hydrophile
| 28. Gone to Gondwana (Original Version)
29. Token Nudity
[~] 30. N2O (Going Under) [Alternative Mix]
[] 31. It Is What It Is (Really)
[€] 32. Father Always Kept His Hand Closed
[] 33. Ldi – 1
[‚] 34. Ldi – 2 + Untitled Voice & Guitar Piece
[ƒ] 35. Ldi – 3
[„] 36. Ldi – 4
[…] 37. Ldi – 5



























[] 27. The Hydrophile
[|] 28. Gone to Gondwana (Original Version)
[] 29. Token Nudity
[~] 30. N2O (Going Under) [Alternative Mix]
[] 31. It Is What It Is (Really)
[€] 32. Father Always Kept His Hand Closed
[] 33. Ldi – 1
[‚] 34. Ldi – 2 + Untitled Voice & Guitar Piece
[ƒ] 35. Ldi – 3
[„] 36. Ldi – 4
[…] 37. Ldi – 5






























[Alternative Mix]

Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album.

Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.

With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.

After teasing its release at SXSW recently, Kaytranada presents his highly anticipated debut album '99.9%' via XL Recordings. The album finds the Haitian born, Montreal raised producer delivering on the promise of his early self-released EPs and remixes. Since the age of fourteen, when he first began to DJ and when his brother introduced him to music production software, his output has been relentless. He explains, after he showed me the basics, from that day on I couldn't stop making beats,' pumping out a handful of tracks per day for the next couple of years.
Single releases like 'Drive Me Crazy' with Vic Mensa and 'Leave Me Alone' with Shay Lia soon spread his name like wildfire. With that release Kaytranada cemented his reputation and his sound, an undeniable swing of the drums comparable to Dilla's, a signature soulful touch in the melodies and a healthy dose of funky basslines.'99.9%' continues that tradition and new track 'Bus Ride', which features acclaimed percussionist / producer Karriem Riggins as well as rising Toronto vocalist River Tiber, demonstrates that Kaytranada has stayed within his canon while demonstrating growth on the new album.

The American rock band Clutch released their second riff-laden self-titled album in 1995. The Zeppelin/Sabbath-esque riffs can be heard throughout the album. Almost every track on the record get stuck in your head immediately, listen to songs like “Droid”, “7 Jam” and “Big News”.. If you’re into the great 90’s rock classics you can’t sleep on this one. From their early days Clutch created some impressive rocking records. Neil Fallon’s vocal together with the great guitar riffs have always been one of the signatures of the band.

Clutch is available as a limited edition of 3000 individually numbered copies on crystal clear vinyl.

After six years, The Notwist return with three new tracks on Morr Music. It’s both an exposition of the the band’s musical variety and a prospect on a forthcoming album.

Six years have passed since The Notwist released their last regular studio album, but that doesn’t mean that the members of this outstanding band have been idle in the meantime. There have been side projects, movie scoring, and other activities, like programming four editions of „Alien Disko“, a festival taking place in Munich, Germany. One of that event’s regular guests was the Japanese duo Tenniscoats – and a lovely side effect from that was an evolving friendship between the two bands. It lead to various collaborations: most recently in a new album by international band „Spirit Fest“ (featuring Tenniscoats singer Saya & The Notwist’s Markus & Cico) & a deep digging compilation of Japanese indie music called „Minna Miteru“.

The title track of this new EP is another step in this collaboration – and a first step to an upcoming album by The Notwist – as it features Saya, who lends her voice to the percussive song. It is build around a slightly detuned synthline, which is contrasted by more pragmatic guitar work. „It neither sounds like The Notwist, Tenniscoats, nor Spirit Fest“, tells Markus Acher. „Just like Saya is saying in the lyrics: ‘I want to go outside, I want to meet people’, „Ship“ is another chapter in what The Notwist always tries to do: redefining itself, exploring something new, integrating different styles of music and collaborating with musicians they admire.“

The second song „Loose Ends“ is, in contrast, more classic Notwist material. A gently expanding ballad, this time featuring the distinctive voice of Markus Acher. The song came out of recording sessions for the soundtrack for „One Of These Days“, a movie by Bastian Günther. The EP then closes with „Avalanche“ a carefully optimistic instrumental.

With its variety of styles, „Ship“ also serves as an outlook on an upcoming album, which will be influenced by the band’s experiences from their detailed work of creating sounds and moods for film soundtracks, and it will include more collaborations with international guest musicians.

Conceived as a loosely-based concept album around the idea of crushes and young love, that dog’s sophomore album Totally Crushed Out! is a touchstone underrated classic in line with of-the-era releases like the Breeders Last Splash and Liz Phair’s Exile in Guyville.
From the Sweet Valley High reminiscent illustrated album cover, to the A minus rating given by the dean Robert Christgau, to the Jenni Konner songwriting credit (long before she was the showrunner for HBO’s Girls) this album is quirky, smart, well-written and most of all...enjoyable.

that dog’s touring behind Totally Crushed Out! found them sharing stages with Foo Fighters, Weezer and Teenage Fanclub, their songs being covered live by Pearl Jam, collaborating with Beck, and the vid for “He’s Kissing Christian” achieving sub-Buzz Bin status on MTV.
This 25th anniversary reissue marks the first EVER vinyl appearance for this album. Showing their attention to detail, Third Man Records sleuths got their hands on the original oil painting used for the front cover art and worked directly from that for all relevant artwork needs.

This fifth record, On/Off, Bachar wanted to record it in his native Lebanon. More precisely in the main room of his family house, a stone house standing alone in the mountains north of Beirut.

In this big room there is all that’s needed: a piano, a chimney, the stove and some rare instruments who have been sleeping there for years, serving as decorations. For two whole weeks, Bachar welcomes, shapes and celebrates the urgency of creation. The recording takes place in decembre 2019, it’s rhythm follows that of the popular uprising which is shaking Lebanon since october.

In his own way, Bachar contributes to it - emotion is raw, his music is stripped down, just liked his country.

In the house, electricity goes on & off twice, a day. During the night, hostile and freezing, hyenas are heard; during the day, the birds whistle with serenity, and the light of day shines through the windows, each day slightly differently…

This constant duality becomes a source of inspiration for Bachar, obsessed as he is by this rustic environment which exacerbates the senses.

The record has 11 tracks, all written on the spot, as well as a duo recorded in 2017 with the french singer Christophe -Jnoun (unreleased up to now).

Three Queens in Mourning first gathered in summit to sing celebration
of the publication of Will Oldham’s book of collected lyrics, Songs of Love and Horror. Alasdair Roberts (Appendix Out), Jill O' Sullivan
(Jill Lorean), and Alex Neilson (Trembling Bells, Alex Rex) each arrived provisioned with a small armful of selections nearest and
dearest from Bonnie Prince Oldham’s far-reaching catalogue. Three Queens in Mourning’s takes on these tunes follow naturally from
the fit between Will’s words and their threedistinctive voices. Alasdair Roberts’ sweet, guileless delivery of “Christmas Time in the
Mountains” amplifiesthe lacerating quality of the lyric “we need an enemy / I’m saving all my rage for you”; even if at the outset of the
song we’re told that “time is the enemy,” the abiding sentiment—the red-hot word that organizes my memory of the song—is rage. Ali’s
and Jill’s trading of verses on “New Partner” puts a different spin on what had previously registered as an especially mercurial firstperson narrative voice, one that swoops between tenderness (“lay back, rest your head on my thighs”) and ecstatic self-absorption
(breaking it to the ex to whom the song is addressed that “I’ve got a new partner riding with me”). Add Alex’s voice, not only for his
madcap “Lost Blues,” but as part of the choir on “Ohio River Boat Song” (a song with origins in the traditional “Loch Tay Boat Song”),
and these three Scottish accents singing about the muddy Ohio, Smoketown, Oldham County, and Floyds Knobs, I mean, there’s not
much else this Kentuckian—these are all deeply familiar landmarks—can say. Type through tears. On this back to back records, The
Bonnie 'Prince' Billy LP is a collection of three cover versions from Ali, Jill and Alex directory and one original track. Three Queens in
Mourning / Bonnie 'Prince' Billy is a collaboration between Will Oldham (Bonnie Prince Billy), Alasdair Roberts (Appendix out / Drag
City), Jill O Sullivan (Jill Lorean) and Alex Neilson (Trembling Bells, Alex Rex) Sleeve notes by David Grubbs Three Queen in
Mourning / Bonnie Prince Billy (Will Oldham/Palace/BPB covers)

Für Peter markiert Blackberry nach fünf Jahren das erste Studioalbum, auf dem er wieder als Sänger zu hören ist; zuletzt hatte er das Gesangsalbum Colours Of The Night im Jahr 2015 vorgelegt. Die neue Platte hat er im Sommer 2019 komplett im eigenen Schlafzimmer in London aufgenommen - weshalb er es selbst als "experimentellen Schlafzimmer-Folk-Pop" beschreibt. Während der 33-Jährige sämtliche Instrumente selbst eingespielt hat, bekommt er einzig auf dem Abschlusstitel Wild Food Unterstützung, wenn sich Peter das Mikrofon mit seiner Frau, der Sängerin Brigid Mae Power, und seinem Stiefsohn Seán Power teilt. Die inhaltliche Palette von Blackberry ist breit gefächert. Unter anderem befasst er sich mit dem Thema Familie, mit den Bindungen, die wir als soziale Wesen alle brauchen. Ein weiteres Thema ist die Technik, verbunden mit der Frage, ob sich der Fortschritt als Segen oder aber als Verhängnis entpuppen wird. Und natürlich schreibt Peter auch über die Natur: Über das Sammeln und die Suche nach Essbarem, darüber, wie wichtig es ist, eine Verbindung zur Außenwelt herzustellen, gleichermaßen in den Städten wie auf dem Land. Angezogen von der spektakulären Natur Irlands, ist Peter mit seiner Familie erst kürzlich ins County Galway zurückgekehrt, wo sie vor dem 2019 erfolgten Umzug nach London bereits gelebt hatten. Am bekanntesten ist Peter Broderick vielleicht als Live-Mitglied von Efterklang, da er von 2007 bis 2013 regelmäßig mit der dänischen Band auf Tour war. Außerdem hat er sich jahrelang intensiv mit den Archiven von Arthur Russell befasst und brachte in seiner Rolle als Restaurator, Editor und Mixing-Spezialist das letzte postum veröffentlichte Werk der US-Ikone auf den Weg. Dabei hat Broderick auch als Solomusiker mehr als 20 Alben in den letzten 13 Jahren veröffentlicht und zudem die Musik für diverse Film- und Tanzproduktionen komponiert; zuletzt erschien sein Soundtrack zum vielfach preisgekrönten Animationsfilm Two Balloons. Anstatt seine Kreativität zu zügeln und sich auf ein einziges Genre festzulegen, hat Peter in seinem bisherigen Werk alles von Gospel und Soul über Spoken Word und Beatboxen bis hin zu Folk, Rock und Klassik einbezogen. Seine Experimentierfreudigkeit ist hingegen eine Konstante, wie auch seine bedingungslose Offenheit für Kollaborationen mit Gleichgesinnten wie u.a. Nils Frahm. Erst Anfang 2020 wirkte er beispielsweise in der Band von Tim Burgess (The Charlatans) mit, auf dessen aktuellem Hit-Album Broderick als Geiger zu hören ist. Die allererste Zeile von Blackberry lautet "You can only be as happy as the world that you live in..." - man kann nur so glücklich sein, wie die Welt es ist, in der man lebt. Ein Gedanke, mit dem sich angesichts von drohender Klimakrise, globaler Pandemie und Lockdown sowie der Ungewissheit darüber, wie sich diese moderne Welt weiterentwickeln wird, sicher viele identifizieren können. Indem jedoch Musiker*innen wie Peter Broderick einen Soundtrack zu diesen turbulenten Zeiten vorlegen, geben sie uns zugleich eine Rettungsleine an die Hand, präsentieren eine neue Sicht auf diese Welt, in der durchaus auch Hoffnungsschimmer und das Staunen ihren Platz haben.

Beat Tape 1 marks Tom Misch's first official release of his instrumental beats, which combine elements of jazz, soul and grooves all heavily inspired by Toms love for J Dilla. Composed, Performed and Mixed by Tom Misch.
Spanning over 19 tracks, the mixtape also includes a brand new, never heard track before 'Marrakech'.

With an acclaimed debut album “Geography”, stratospheric streaming figures, sold out shows across the globe, collaborations with the likes of De La Soul, Loyle Carner, GoldLink and Novelist and support from John Mayer, Eric Clapton, John Legend and Elton John, Tom Misch has quietly but rapidly become one of the most celebrated artists of the last decade.
He takes it back to where it all began with the long awaited release of “Beat Tape 1”. First released on Soundcloud and Bandcamp in 2014, “Beat Tape 1” was an early showcase of Misch’s singular skills. Now featuring the previously unheard “Marrakech” , this collection of low-lit instrumentals perfectly weaves elements of jazz, soul and hip hop, composed, performed, mixed and mastered by the polymath himself. Taking inspiration from one of Misch’s key influences, J Dilla, it is an exquisite collection.
With a joint album with drummer, producer and jazz innovator Yussef Dayes set for 2020, Misch’s musical artistry and restless experimentalism will undoubtedly continue to push the boundaries of writing and production in unexpected and enthralling ways.

Schwarze 180G Vinyl mit bedruckter Innenhülle und Downloadkarte

Yellow Vinyl

Der jüngste Teil der Magnetic Eye’s Redux Series ist einem
der Meilensteine der Grunge-Ära gewidmet: Eine Reihe von
Künstlern aus dem Doom- und Stoner-Underground
interpretieren Alice in Chains’ Dirt neu, einen vertonten
Alptraum über Drogenabhängigkeit und innere Finsternis.
Ähnlichkeiten zwischen Grunge und der Entwicklung des
Stoner Sludge Metal lassen sich besonders deutlich auf diesen
Meilenstein zurückführen, der den kulturellen Wandel vom
geistlosen Hair Metal zu roherem, dreckigerem und
authentischerem Stoff in den frühen 1990ern endgültig
machte, woraus dann der vorherrschende Stil populärer
harter Musik wurde.
Dirt Redux bietet den gesamten Albumklassiker von Anfang
bis Ende in Form von Coverversionen und Überarbeitungen
durch Szene-Schwergewichte und Aufsteiger wie Khemmis,
Thou, -(16)-, Howling Giant, Forming The Void, The Otolith
(ex-SubRosa) und weiteren.

12′’ Maxi SP with original exclusive artwork by artist Paul Shipper, for the 40th anniversary of the motion pictures Mystery Men, directed by Kinka Usher, starring Ben Stiller, Hank Hazaria, William H Macy, Paul Reubens and Geoffrey Rush. A true collector’s item for any fan of this cult film, which saw a new generation of comedians led by Ben Stiller take the power over Hollywood, and which way ahead of its time invented the super heroic comedy genre, years before Guardians of the Galaxy or Shazam. This Maxi SP features the original song All Star by Smash Mouth. The song was used for the first time ever for Mystery Men original soundtrack. The song would soon after become a worldwide hit (and later an internet meme) when featuring to the movie Shrek Vital Sales Points: Artist Paul Shipper has become a pillar of the revival of the painted artworks in the movie industry, after decades of photoshop excesses. He has created prestigious posters for Steven Spielberg’s Ready Player One, Marvel’s Avengers Infinity War, Disney’s Star Wars The Rise of Skywalker. Includes a printed inner sleeve. Pressed at only 500 copies

Das Debutalbum endlich wieder als LP Version erhältlich!

Anniversary LP with personilized Sleeves.
Double LP CRAZY FANTASTIC passionate musicians strike...

SUPERB

Following highly praised releases by Hermeto Pascoal & Grupo, Leonardo Marques, Xenia Franca and Moons, 180g and the legendary Disk Union continue to explore the best of today's Brazilian music scene with this wonderful psychedelic and funky pop album by Rio de Janeiro's Gus Levy: Magia Magia.


The mystical universe of Magia Magia reflects influences from the samba rock of Jorge Ben, the romantic grooves of Djavan and the psychedelic pop of Connan Mockasin and Negro Léo. The lyrics and sensations suggest a new way of seeing the reality of the world and relationships: union, spirituality, magic, complicity, happiness, courage, love, fraternity, dilemmas and contradictions lead the poetical subject of Magia Magia. Inspired by a conception of the universe ruled by feminine entities, Gus Levy brings with Magia Magia a masterpiece of modern Brazilian psychedelic and funky pop, with exquisite artwork by Fernanda Varella.

A composer and multi-instrumentalist from Rio de Janeiro, Brazil, Gus Levy has been gaining more and more attention on the Brazilian music scene during the last few years. He is also a producer at Rio de Janeiro's Estúdio Carolina studios, a member of the band "Os Dentes" for more than 10 years, and the guitarist of choice for artists like Antonio Neves, Filipe Marones and João Werneck.

DROOL has been making austere and confrontational art rock since 2016.

Core members Hersh D. Chabra and Ben Leach have strong roots in Chicago’s DIY community, playing in bands like Lala Lala, Labor, and Pisces at the Animal Fair.

But the pair view the band as more of an ever evolving art project than a conventional punk band, maintaining an open door for collaborators and constantly experimenting with their live performances.

Their new full-length record DROOL II features the band as two-piece of Chabra’s saturated, deep guitars and Leach’s hulking and cathartic drumming. From the loping opener “Canary” to the tender, orchestral art-rock climax of “Shoes”, the duo uses their limited sonic palette to create a dynamic collection of songs.

Trading lead vocals, both members use delicate poetic imagery in contrast to their dissonant and contorted music, often dealing with leftist-skewed themes of introspection, authority, bigotry, and dehumanization. DROOL’s influences are as unique as their sound, taking inspiration from early aughts Providence noise rock, contemporary DEVOtional bands, and the “Jam Econo” ethos of The Minutemen. DROOL is as unique as they are powerful in both their composition and their live performance, constantly trying to undermine rock norms and go beyond conventions of what it means to be a band today.

St. Louis’ very own Glued has been playing angular, dissonant prog-punk since the winter of 2015. At the core of their songs is a parade of rueful hours; an uncertain and acrid nostalgic overload led by interweaving guitar lines mutating and changing direction just as they settle in.

Cool Evil repeatedly finds ways to shift gears from dynamic, melodic verses to expansive
tunnels of four-piece instrumental conversation, revealing a fascinating chemistry few bands will ever approach. Drummer Chelsi Webster shares vocal duties with guitarist Sean Ballard, the former taking the majority of the songs on Cool Evil. On the opening track, “Used To It”, Webster sets the emotional tone of the album, a resilient disgust battling an inescapable disillusionment: “Breathing well is a dying form of art / Getting well is a dying art / Sleeping well is a dire form of art / Living well is a dead and a dying art / And I should get used to it.” The immediacy of “Used To It” finds common ground in modern post-punk (Nots, Marbled Eye, Negative Scanner), where leggier songs “Beach Boys”, “Fish Song”, and penultimate track “Grounded By Pavement” recall hyper avant-punk (Deerhoof, Lithics, Polvo).

Recorded at Roseraft by Philip Lesicko (The Funs, Swear Beam) and mastered by Dave Vettraino, these sessions abandon the reverb of the group’s previous releases in favor of a drier, restrained, and more immediate sound. Their debut LP, Cool Evil is a captivating snapshot of a band fully realized, somehow, without losing the risk and curiosity of the first practice space demos. The band describes it as “30 minutes of pulsating mid tempo eighth notes to lobotomize your soft and supple brain, and perhaps help fill the void where a soul might reside.”

"Bcos U Will Never B Free" ist das Debütalbum von Singer-Songwriter und Multiinstrumentalist Rex Orange County. Geschrieben und aufgenommen in In seinem Schlafzimmer im Alter von 16 Jahren, erregte es viel Aufmerksamkeit als es im September 2015 auf seiner Bandcamp-Seite veröffentlicht wurde. Die Lo-Fi Texturen und Hi-Def Emotionen führten zu einer Zusammenarbeit mit Tyler The Creator, welcher den Teenager, der als Alex O'Connor geboren wurde, nach Los Angeles einlud. Dort schrieben die beiden dann zwei Songs für Tylers Album "Flower Boy". Rex veröffentlichte seitdem zwei Studioalben, in 2017 "Apricot Princess" und "Pony" in 2019. Zum fünfjährigen Jubiläum von "Bcos U Will Never B Free" erscheint das Erstlingswerk jetzt erstmalig auf Vinyl!

If you could recreate a time before you experienced the most extreme grief of your life, would you do it? For Rituals of Mine’s Terra Lopez, she did just that. With her latest album HYPE NOSTALGIA – her first as a solo artist – Lopez wanted to create a soundscape from a pre-loss perspective, revealing how the darkness she experienced was just microcosms of her being.
 
HYPE NOSTALGIA reckons with the emotional rollercoaster Lopez has been riding the past few years, and reimagines it. In 2015, Lopez lost her father to suicide and six months later her best friend passed away in a water accident. “Those two events within that six month-period, forever changed me, and I'm only now starting to feel like I've processed it after all these years,” Lopez says.
 
The same week her father died, she went on tour, and the same week that her friend died, Lopez signed to a major label, immediately working on new music. She never slowed down and neither did her emotions. Lopez went from being a high-functioning depressed person to encountering the most crippling mental health experience of her life.

Art had always been her outlet, but it was no longer a coping mechanism that worked. Trauma had taken away her voice, leaving Lopez unable to sing for a year. It wasn’t until 2018 when she decided to go to therapy and began taking medication for the first time that she could process the trauma she had experienced, not only in the recent years, but intergenerational trauma she discovered in eye movement desensitization and reprocessing (EMDR).

Sure, there are heavy elements to the record: dark synths, future R&B undertones, propulsive bass and moody lyrics, but the softness of Lopez’s vocals elicits a quiet confidence. On the self-assured lead single “Come Around Me,” the most straightforward song Lopez has ever written, she confronts being taken advantage of as a gay woman of color in the music industry. “None of this fake shit when you come around me,” she sings breathlessly. Lopez enlists musician Kristina Esfandiari (King Woman, Nghtcrwlr), to tackle the same subject on the anthemic “Free Throw,” meditating on the fake support that comes from their male counterparts in the music industry.

Stuck is a post-punk band for people who think the genre is predictable. On their debut album the Chicago quartet strive for musical dissonance and lyrical vulnerability, a combination that’s deeply cathartic for the band and for listeners alike.

Equal parts atonal and contagious, Change Is Bad is caught in a cycle of time, grief, and transition, and Stuck are hitting the walls trying to stop it from spiraling out of control. To confront it, the band drew from a wide range of influences—Omni, Shellac, Landowner, video game glitches, speedrunning, and sci-fi book series Three Body Problems—that aren’t just namechecks. They’re influences you can actually hear in the music.

Interweaving guitars on “Plank II” move gracefully despite their sharp edges. “Bells” barrels through machine gun drumming that never ceases fire. Wiry guitars duel for the spotlight on “Wrong Question” like they’re fighting for their lives. There’s a momentum and insight to it all that keeps you invested until the very end.

The Man Who: The Man Who sounds as fresh today as it did then. One of the most successful British albums of the last 20 years, it spawned the timeless singles, “Writing to Reach You,” “Driftwood,” “Turn,” and possibly the band’s most iconic song, “Why Does It Always Rain on Me?” Produced by Nigel Godrich (Radiohead, U2, Pavement), The Man Who spent an astonishing 11 weeks at Number One in the UK, going on to sell 3.5 million copies worldwide. Critical recognition quickly followed including Ivor Novello Awards for Best Songwriter and Best Contemporary Song for “Why Does It Always Rain on Me?” and BRIT Awards for Best British Band and Best British Album. Travis would spend the next 18 months on a 237-date world tour. The deluxe box set features 2-LPs, 2-CDs and a 58-page commemorative photobook, and includes 19 B-sides hand selected by the band themselves.

Presented by Mitsuko & Svetlana Records, distributed by WRWTFWW Records.

Archival reissue of highly sought-after 1979 soundtrack from funky maestro Yuji Ohno, the genius jazz player/composer behind the music of Lupin III (?????) and Capitaine Future (?????·??????) and much much more. Big grooves, irresistible basslines, horns for days, funk for-ever. This superb piece of music from the legendary Toho Records catalogue is a MUST HAVE for fans of Japanese gems.

It’s the original soundtrack of Shigeyuki Amane’s excellent TV movie Golden Dog (Ôgon No Inu). With a secret agent dog carrying secret documents. Last appearance by the one and only Reiko Ike!

Highly recommended to everyone who loves good dogs and good music.



Points of interests

- For fans of funk, jazz, Japanese music, rare groove, boogie, 70s soundtracks, rare gems, WRWTFWW Records, Lupin III, library music, and beautiful dogs.

- Rare gem reissued on vinyl for the first time since 1979.

- Fifth release from Mitsuko & Svetlana Records (Bells of Koyto, Masahiko Sato - Kayobi No Onna, Piero Milesi - The Nuclear Observatory of Mr. Nanof, Sora - Re.sort), distributed by friends WRWTFWW Records (Midori Takada’s Through The Looking Glass, Lunar Cruise and MWKAJU en-semble’s projects, Kenji Kawai’s Ghost in the Shell Original Soundtrack, Yasuaki Shimizu’s Kakas-hi, John Carpenter’s Dark Star Soundtrack, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mon-do Dei Romani, Bernard Parmegiani soundtracks, Colored Music’s self-titled album, EP-4’s Lingua Franca-1, Normal Brain’s Lady Maid…), label founded and curated by Olivier Ducret of Mental Groove and Musique Pour La Danse (Miss Kittin, Orbe, Donato Dozzy, Imperial Tiger Orchestra...) and Stephan Armleder of Villa Magica Records (Genesis Breyer P-Orridge, Christian Marclay, Ste-phan Eicher & Rainier Lericolais, John Armleder, Sylvie Fleury…)

Lustmord is a Welsh electronic musician, composer and sound designer based in Los Angeles. Active since 1980 he has released a prolific body of work across various labels such as Touch, Hydra Head and Blackest Ever Black. Often credited for starting the dark ambient genre with his ‘Heresy’ album in 1990, Lustmord’s music has been described as sweeping and profound, a vast dreamlike soundscape that utilises organic and real-world scenes as source material. Lustmord albums have been made from caves, crypts, car crashes, cosmological activity, the Los Alamos National Laboratory and the site of the first ever nuclear detonation. Lustmord and Cargo Records are happy to announce the launch of Vaultworks. Originally an imprint intended to release short editions of live CDs at his live shows, it is now launched as a wider platform for his work in general. Kick starting a planned series of new releases and reissues is the first time Vinyl and CD release of his soundtrack to Paul Schrader’s 2017 film First Reformed, starring Ethan Hawke, Amanda Seyfried and Cedric Kyles. The release features extended versions of the score formatted as a standalone album. The double vinyl edition includes an extra track “Venice” which was featured at the Venice Film Festival red carpet event. The CD edition has tracks formatted to crossfade into each other for a continuous listening experience.

The psychedelia of Purple Desert Rain God is playful and innovative in a way that brings early Pink Floyd to mind, where classic blues elements were mixed with tape loops and tremolo/feedback guitars. But more than 50 years has passed since Barret’s trip through universe was caught on tape and the comparison stops there: Purple Desert Rain God is a new take on acid rock!

Purple Desert Rain God is nature music and transcendental dance music and they overlap between genuine psychedelia and electronic music with filter sweeps on guitars and drums. Sudden bursts of drum fills brakes the monotonous groove and amplifies the feeling of lost control and the band often balances on what is considered a beat that is on time. However, they keep momentum and hammers the pulse on your eardrums, into your mind.

To add some more mystery the band gives this explanation to their name: "Deep in the purple desert is a pervasive need for a logical universe that makes sense. But the Rain God is always one step beyond logic."

Das temperamentvolle, zweite Album der amerikanischen Grunge-Pioniere L7. Diese Auflage zum 30-jährigen Jubiläum des Underground-Rock-Klassikers aus den 90er Jahren enthält alle neun Songs des Albums, neu gemastert und zum ersten Mal überhaupt zusammen auf Vinyl erhältlich! Ursprünglich 1990 veröffentlicht, ist ,Smell The Magic" ein Wahrzeichen des feministischen Rock der 90er Jahre.

Exclusively on vinyl - 30 incredible tracks that defined an era of music.

In the early ’90’s Indie and Dance music came together to produce some of the most incredible & genre-challenging hits ever. Defining tracks from Primal Scream, The Stone Roses, Happy Mondays and Saint Etienne are featured. Club hits became anthems for a generation with Faithless, The Chemical Brothers as well as the incredible ‘Born Slippy’ from Underworld (from the film ’Trainspotting’) are all also included.



By the mid ’90’s ‘Brit-pop’ had become a cultural movement with both the music and the fashion it inspired, its driving force were legendary artists with defining tracks on ‘Loaded’ such as Pulp, Embrace, The Bluetones, Ocean Colour Scene, Stereophonics and the most successful band of the era, Oasis, opening this collection with ‘Don’t Look Back In Anger’.

Established acts released some of their most beloved tracks during this period including Paul Weller with ’The Changingman’ and Manic Street Preachers with ‘A Design For Life’, The Cure with ‘Friday I’m In Love’ and The Lightning Seeds with ‘Lucky You'.The era also produced some amazing indie pop tunes that sound just as fresh today from The Boo Radleys, James, Dodgy, Travis, The Dandy Warhols, The Wannadies, Sleeper, The Cardigans, Shed 7, Placebo and the timeless ‘There She Goes’ by The La’s all of which are featured alongside the US Indie pop of Weezer and Hole.



30 iconic artists with 30 amazing songs - ‘Loaded’ is an essential addition to any good record collection - and the perfect gift for Father’s Day.

Over the years Self Defense Family’s revolving lineup and improvisational writing process has led to the band often recording new music while on tour, putting the focus on capturing a specific moment between the current collaborators. The Island singles have been snapshots of the band in studios all over the world, from Jamaica, to Ice-land, to Scotland, and now Australia. The songs on Make Me A Pallet Fire On Your Floor / Local Clerics are marked by a raw, spacious recording, winding guitar lines mixed with swirling organ, and of course Kindlon’s one-of-a-kind vocals and un-flinching lyricism.

Anna Meredith today announces her eagerly anticipated second studio album, FIBS, due for release on 25 October via Moshi Moshi. The album is heralded by the release of ‘Paramour’, its first single and spectacular accompanying single-take video, and a song that forbids you from turning away - its sweeps, jerks and wrong turns pinning your ears to the speakers whilst heading for warp speed at a blistering 176 BPM before rounding the journey out with an (utterly unexpected) tuba-led half-time rock-out.

Arriving three and a half years on from the release of her Scottish Album of the Year Award-winning debut studio album Varmints, FIBS is 45 minutes of technicolour maximalism, almost perpetual rhythmic reinvention, and boasts a visceral richness and unparalleled accessibility.

FIBS is no “Varmints Part 2” — the retreading of old ground, or even a smooth progression from one project to another, just isn’t Meredith’s style. Instead, if anything, it’s “Varmints 2.0”, an overhauled and updated version of the composer’s soundworld, involving, in places, a literal retooling that has seen Meredith chuck out her old MIDI patches and combine her unique compositional voice with brand-new instruments, both acoustic and electronic, and a writing process that’s more intense than she’s ever known. Despite Meredith’s background and skills these tracks are no academic exercise, the world of FIBS is at both overwhelming and intimate, a journey of intense energy and joyful irreverence.

FIBS, says Meredith, are “lies — but nice friendly lies, little stories and constructions and daydreams and narratives that you make for yourself or you tell yourself”. Entirely internally generated and perfectly balanced, they can be a source of comfort and excitement, intrigue and endless entertainment. The eleven fibs contained on Anna Meredith’s second record will do all that, and more besides.

Three years after their album "Eine andere Option" Munich based dASbAND is back with a new single, two new songs and newcomer Gringo on bass.

„Oh Ja (Wir sind ein Garten)“, psychedelic post-punk in a casual melange, because "We still believe in the sacred power of guitar riffing, in the right to intoxication and ecstasy, shalala-la!"

„Geh Weg", a serene call to dub and dance elements. If you can't change the circumstances, you should at least make them dance.

My Morning Jacket release their new album via ATO Records. ‘The Waterfall II’ was massively inspired by the band’s idyllic surroundings in Stinson Beach, CA - and a sense of charmed isolation that frontman Jim James likened to “living o n o u r o w n lit tle m o o n .” There, the Kentucky-bred five-piece ended up creating over two dozen songs at the mountaintop studio known as Panoramic House. Though they flirted with the idea of putting out what would have been a triple album, the band ultimately decided that less would be more at the time and divided the project into two halves, releasing the first segment as ‘The Waterfall’, a 2015 full-length that earned a Grammy Award nomination for Best Alternative Music Album. My Morning Jacket are now set to share the second half of the project as ‘The Waterfall II’, an unforeseen and timely continuation of a psychic and sonic journey begun long ago.

The second LP by Belarussian trio Molchat Doma, Etazhi, meaning “Floors”, was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they’ve reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own
.
The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synth

The second full-length album of Danish Fifties/Psych Pop duo The Raveonettes was released in 2005. On Pretty In Black, Sune Rose Wagner and Sharin Foo abandoned the strict recording rules the band laid upon themselves on their preceding efforts. Instead, the group further expands on their signature sound of Fifties inspired Rockabilly Noise Pop with the eerie feel of a thriller movie soundtrack. Special appearances on this album are made by Maureen Tucker of Velvet Underground on drums, Martin Rev on drum machine and Ronnie Spector, also known as Veronica Bennett of the fabulous Ronettes on backup vocals.

Available as a limited 15th anniversary edition of 1500 individually numbered copies on crystal clear (transparent) vinyl. The package includes a 4-page insert.