Cerca:man ro

Manchmal geht einfach alles POP! Fall in Love Again with "Balloon Balloon Balloon"! Unterwerfung. Das ist das Wort, das mir in den Sinn kommt, wenn ich mich mit Kai Slaters Sharp Pins auf den überwältigenden Pop-Planeten begebe. Das Universum funktioniert nur, wenn man sich unterwirft: sich der Liebe unterwirft, sich der Rockmusik unterwirft. Sich der Kraft zu unterwerfen, die von einem Jungen ausgeht, der seine Gitarre schwingt, um makellosen Gitarrenpop zu kreieren, der ins Pantheon der Idole gehört, zu denen er mit diesem Album aufsteigt. Natürlich ist es verständlich, dass man zunächst wütend ist. Alle waren wütend auf Big Star, weil sie den Beatles zu nahe kamen. Und alle werden wütend auf Sharp Pins sein, weil sie dasselbe tun und dann noch Guided by Voices mit ins Spiel bringen. Wie kann er es wagen? Diese Überheblichkeit. Welcher 20-Jährige glaubt, er könne Robert Pollard übertrumpfen? ,Queen of Globes and Mirrors?" Ein Verbrechen. Mit dem noch schlimmeren Verbrechen, Songs zu schreiben, die so rätselhaft zeitlos sind, dass man glauben könnte, sie seien aus einem verlorenen Beatles-Band gestohlen worden. ,I Don't Have the Heart" und ,(I Want to) Be Your Girl" lassen einen wirklich im Unklaren darüber, wann und wo sie entstanden sind. Aber wenn der Lo-Fi-Noise-Pop von "Balloon Balloon Balloon" uns an etwas erinnert, dann daran, dass nur Kai das kann. Mit seiner 12-saitigen Gitarre und seiner unermüdlichen Besessenheit von Popmusik ist Slater einzigartig ausgestattet, um nicht nur von Pollard und Chilton das Erbe anzutreten, sondern auch den Byrds, den Temptations, den Four Tops und allen anderen Künstlern nachzufolgen, die versuchen, die wahre Liebe auf Band zu bannen. Er wendet die Taktik ,um Vergebung bitten, nicht um Erlaubnis" an, wenn er sich bei diesen Größen bedient, und uns bleibt nichts anderes übrig, als Slater zu vergeben, dass er uns diese Rock'n'Roll-Juwelen schenkt, die er aus der Vergangenheit in eine Zukunft katapultiert, die so melodisch makellos und doch kantig und aufrichtig ist, dass wir ihm auch dafür danken müssen, dass er das Genre vor der Bedeutungslosigkeit bewahrt hat. Denn was Slater hinzufügt, ist ganz und gar sein Eigen. Eine unbeschreibliche Sensibilität für das Songwriting, die trotz der zahlreichen Anleihen nur ihm gehören kann. Am Ende des Albums schluckt man jegliche Wut oder Ungläubigkeit, die man vielleicht hatte, und akzeptiert, dass Sharp Pins wirklich so gut sind. Auf diesem umfangreichen, aber niemals überladenen Album erschafft Slater eine Welt voller kleiner Pop-Perlen, die so einfach und dumm gut sind, dass sie uns daran erinnern, dass eine andere Welt möglich ist. Denn es ist nicht nur so, dass die Songs unmöglich aus dem Kopf gehen, was sie auch sind. Es ist Slaters eigene Hingabe an dieses Streben nach dem perfekten Popsong, die uns glauben lässt, dass dies nicht nur möglich ist, sondern auch ausreicht, um dem Leben wieder Form und Farbe zu geben. Fall in Love Again ist keine Empfehlung, sondern eine Verpflichtung. Nicht nur gegenüber einem schönen Mädchen, von denen es auf dem Album viele gibt, sondern gegenüber der Welt selbst. Vielleicht ist es dann möglich, die Zukunft zu erreichen, von der der 20-jährige Slater selbst träumt, aber bis dahin haben wir seine Liebesbriefe an den Rock'n'Roll und die Welt um ihn herum, die uns Gesellschaft leisten.

Originally released in Feb 2011, next year it will be 15 years young and like every teenager it wants to make a racket. So, in February 2026 the band will be doing just that, with some very special shows celebrating their debut album. Tour Dates for 2026 : Exeter Cavern 12/02/26, Cardiff Fuel 13/02/26, London Lexington 14/02/26, Edinburgh Bannermans 20/02/26, Nottingham Rescue Rooms 21/02/26
"The gauntlet for best album of 2011 is being thrown down early!" Metal Hammer. // “Black Spiders are pure genius, AND, they go onstage on time!” Duff McKagan (yeah, him off Guns n Roses)..// “Their apocalyptic three-man axe assault is awe-inspiring“ Rock Sound..// “Another monolithic slab of thunderous rock. This Sheffield-based quintet have managed to harness the powers of Angus Young and priapic death punks Turbonegro and distil it into a brew fit for Odin himself” KKKK Kerrang. SONS OF THE NORTH was the much anticipated debut album by the United Kingdoms very own rock juggernaut BLACK SPIDERS. Quite literally ten tracks of galloping rock and thunderous roll, heads down, no nonsense, ear splintering, gut wrenching organic, melodic goodness. Classic Rock and Metal Hammer Magazines hailed them as ‘Ones to Watch’, Kerrang, Rock Sound, Big Cheese Magazines, Subba Cultcha and Thrash Hits all reviewed.

Anthology 4 - Triple LP. The new volume from The Beatles Anthology Collection.

Anthology 4, is newly curated by Giles Martin, including 13 previously unreleased demos, plus fascinating session and other rare recordings dating from 1963 to 1969. It also includes the band’s final single, ‘Now And Then’, released in 2023, and new mixes of The Beatles’ Anthology-associated hit singles: the GRAMMY-winning ‘Free As A Bird’ and ‘Real Love’, given new life by their original producer, Jeff Lynne, using de-mixed John Lennon vocals. Furthermore, Anthology 4 presents 26 tracks that have never previously been released on vinyl.

The track notes are written by Kevin Howlett with an introduction compiled from 1996 interviews recorded with The Beatles’ close friend and adviser Derek Taylor.

Pressed on 180g black vinyl, the triple LP is housed within poly-lined inner bags and a triple gatefold sleeve.

Extended Field vereint Horse Lords und Arnold Dreyblatt für die achtzehnte Ausgabe von FRKWYS, einer generationsübergreifenden Zusammenarbeit abenteuerlustiger Musiker, die sich von der klanglich strahlenden Welt der reinen Stimmung angezogen fühlen - einem alten Stimmungssystem, bei dem die Tonintervalle aus ganzzahligen Verhältnissen abgeleitet werden. Dreyblatt tauchte erstmals in den 1970er Jahren in New York in diesen Ansatz ein, während Horse Lords fast vier Jahrzehnte später begannen, dessen Möglichkeiten zu erforschen und anzuwenden. Gemeinsam schaffen sie eine lebendige harmonische Umgebung, die von ihrer gemeinsamen Leidenschaft für Rhythmus angetrieben wird und eine Verbindung von diskreter, aber verwandter Ästhetik für die Ewigkeit herstellt. Dreyblatt ist ein Pionier des psychoakustischen Phänomens und war von 1975 bis 1977 Assistent von La Monte Young, bevor er bei dem legendären Alvin Lucier an der Wesleyan University studierte. Er entdeckte die klangliche Kraft angeregter Saiten, rüstete einen Kontrabass mit Klaviersaiten nach und schlug mit schnellen Schlägen darauf, um einhüllende Wolken metallischer Obertöne zu erzeugen. Dreyblatts Album Nodal Excitation aus dem Jahr 1982 legte einen klanglichen Entwurf fest, der bis heute das Herzstück seiner pulsierenden Musik bildet. Schließlich zog er nach Berlin und leitete im Laufe der Jahre verschiedene Ensembles, die das kompositorische Gerüst, das er um seine klingenden Töne herum aufgebaut hatte, verstärkten und interpretierten. Im Gegensatz zu Dreyblatts hyperfokussierter Praxis haben Horse Lords einen ganz eigenen ekstatischen, hybriden Sound entwickelt: Hard-Driving-Rhythmen unterstützen eine Kollision aus traditioneller Ritualmusik, Free Jazz und spektral brillanten elektronischen Schauern psychoakustischer Klänge. Nachdem sie sich mit ihrem 2020 erschienenen Album ,The Common Task" eine treue Fangemeinde aufgebaut hatten, zog der Großteil der Band 2021 nach Deutschland, wobei sich Gitarrist Owen Gardner und Bassist Max Eilbacher in Berlin niederließen und Saxophonist Andrew Bernstein nur wenige Stunden entfernt in Bayern. Schlagzeuger Sam Haberman blieb in Baltimore, trifft sich aber weiterhin mit der Band für Albumaufnahmen, darunter das 2023 erscheinende Album ,Comradely Objects", und ausgedehnte Tourneen. Ohne es zu wissen, teilten beide Seiten ein gegenseitiges Interesse an der Musik des anderen. Anfang 2017 schlug Dreyblatts langjähriger Kollege und Freund Werner Durand ihm vor, sich die Band anzuhören. Er erinnert sich: ,Nachdem ich sie gehört hatte, antwortete ich schnell: ,Klingt großartig! Ein bisschen wie meine Musik. Ich habe noch nie von ihnen gehört!` Ich schickte ihnen eine Nachricht über ihre Bandcamp-Seite, und sie antworteten: ,Hallo! Danke für die Nachricht, wir sind große Fans deiner Musik!` Aber erst als Dreyblatt die Band im Oktober 2021 in Berlin sah, kreuzten sich ihre Wege endlich. Einige Tage später schlug Bernstein eine Zusammenarbeit vor. Dieser Prozess verlief langsam, aber sicher; beide Seiten waren sehr beschäftigt, und als die Musiker schließlich zusammenkamen, mussten sie unterschiedliche harmonische Vorstellungen miteinander in Einklang bringen und brauchten jemanden, der Haberman am Schlagzeug ersetzte. Dreyblatt schlug Andrea Belfi vor, einen angesehenen italienischen Schlagzeuger und Komponisten, der in Berlin lebt. In den folgenden Kompositionssitzungen lernten Horse Lords und Dreyblatt die Feinheiten der harmonischen Vorlieben des jeweils anderen kennen und fanden Wege, diese zu einem einheitlichen Klang zu verschmelzen. ,Andrew und Owen schlugen Strukturen für die Navigation durch meine Tonsysteme vor", erklärt Dreyblatt, ,während Max in SuperCollider gewichtete algorithmische Frequenzmuster entwickelte." Viele Bewohner des Stimmungsuniversums haben hartnäckige Überzeugungen darüber, was richtig und was falsch ist, daher ist die Geduld und Offenheit beider Seiten ziemlich ungewöhnlich, wobei die Partnerschaft faszinierende Akzente und Veränderungen hervorbringt. ,Als Fans von eingeschränkter/algorithmischer Kunst (nicht der schlechten Art!) haben wir beschlossen, diese Matrix in den Mittelpunkt unserer Entscheidungsfindung zu stellen, um uns sowohl eine nicht willkürliche Möglichkeit zu geben, die ansonsten unendlichen Möglichkeiten zu begrenzen, mit denen man bei der Komposition mit Zahlen konfrontiert ist, als auch einen Ausweg aus festgefahrenen Gewohnheiten", schreibt Gardner über die Schaffung von Grenzen für ihre harmonischen Welten. Anstatt den Prozess einzuschränken, zwang diese Entscheidung die Musiker, ihre Komfortzone zu verlassen, und erforderte mehr Einfallsreichtum und Bedachtsamkeit bei ihren Entscheidungen. Das Endergebnis ist weit mehr als die Summe seiner Teile, da beide Parteien sich auf die Ideen des anderen einlassen, ohne die Vorrangstellung ihrer eigenen Ideen zu opfern. Der galoppierende polyrhythmische Antrieb, der ein charakteristisches Merkmal der Musik von Horse Lords ist, bleibt allgegenwärtig, und ein Stück wie ,Extended Field" nutzt die numerische Matrix von Dreyblatts System sowohl harmonisch als auch rhythmisch. In dem sich endlos wandelnden Drone-Stück ,Suspension" umschmeicheln Horse Lords Dreyblatts gestreifte Bogenstriche mit ihren eigenen pulsierenden Tönen. Obwohl ihre Rolle in den jeweiligen Werken unterschiedlich ist und sie im Verhältnis zu anderen Elementen in unterschiedlichen Anteilen vorkommen, ist die harmonische Erforschung das Herzstück dieser atemberaubenden Zusammenarbeit. Wie man im Schlussstück ,Impulse Array" erkennen kann, führt das Stöbern der Horse Lords in Dreyblatts Matrix zu den klanglichen Entdeckungen, für die sie leben. Wie Gardner bemerkt: ,Jede Wendung offenbart einen überraschenden, aber irgendwie unvermeidlichen neuen Akkord, dessen Verlauf seltsamerweise an einen Bach-Choral erinnert, der sowohl sehr zielgerichtet als auch ohne Ziel ist."

Damit eins gleich klar ist: Auf FARIN URLAUBs zweitem Album ist erst mal Schluss mit lustig.
Es dauert ganze vier Verse, und ein unmissverständliches „Feuer frei“ legt einem nahe, den Kopf für den
Rest des Albums lieber unten zu halten … und besser isses, denn es wird fortan konsequent mit der Gitarre
niedergemäht, was nicht in geduckter Haltung hinterm umgekippten Esstisch kauert*. Sogar die SkaAnleihen klingen nach Ska-ta-ta-ta-ta.
Und Pustekuchen für jeden, der glaubt, sich am wohlvertrauten Sound durch das hangeln zu können, was
da auf einen niederhagelt.
Da kommt einer eigenständig – aber diesmal nicht allein. FARIN URLAUB schart erstmals Teile seines
„Orchester voll Dynamit“ um sich, das ihn fortan live begleitet: Zwar spielt er – Bläser ausgenommen –
wieder alle Instrumente selbst ein, doch die Damen vom RACING TEAM leihen ihm diesmal ihre Stimmen.
Kein Wunder also, dass AM ENDE DER SONNE schnurstracks auf die 1 ging.
URLAUB hat ein fieses Album in eine fiese Welt geworfen. Eine Welt, über der ein teilnahmsloser Lichtball
prangt, um irdisches Elend unbarmherzig auszuleuchten („Sonne“). Eine Welt, in der man’s nicht einmal
mehr schafft, das Meer romantisch zu verklären („Unter Wasser“), weil man vom eigenen Haushalt mit
Anlauf aufs Maul kriegt („Dusche“), während einer mit dem Schraubenschlüssel rhythmisch auf die Heizung
hämmert.
Die 180-Gramm-Vinyl-Wiederveröffentlichung von AM ENDE DER SONNE erscheint am 21.11.2025 mit
Downloadcode.
*) Das Album ist nicht nur gewaltig, es ist auch großzügig, denn eventuell gibt’s einen Hidden-Track.

Just one year and 13 days after their critically acclaimed debut Colorful White Lies, Bergen- based rock band Electric High return with their second album Free to Go. While the debut was a manifestation of the band's first five years of existence, Free to Go is quite the opposite: written, rehearsed and recorded at breakneck speed, the album bursts with freshness, spontaneity and raw energy. Ahead of the release, Electric High have already dropped three singles - Thick as Thieves, Ain't Got Nothing But Time (watch music video) and the title track Free to Go - each showcasing different sides of the record, from singalong anthems to heavier, more hard-hitting rock. Free to Go expands on the band's signature sound: an explosive blend of classic and modern rock. Expect infectious choruses inspired by Aerosmith, Whitesnake and AC/DC, dark riffs echoing Black Sabbath, a touch of 70s glam and punk attitude - along with flavours of contemporary rock à la Arctic Monkeys and Royal Blood. The result is an album that feels both timeless and fresh, balancing melody with sheer power.

Aufgenommen 1954/55, markiert dieses Album den Höhepunkt dessen, was manche als die “definitivste
Bop-Gruppe der Ära” bezeichneten. Für ihr zweites von vier Alben, die Brown und Roach gemeinsam
aufgenommen haben, holten sie Harold Land (Tenorsaxophon) mit Richie Powell (Klavier) und George
Morrow (Bass) an Bord, um die Rhythmusgruppe um Roach zu verstärken.

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

"On the Huh" is taken from the deepest UK slang term 'on the huh' meaning: Not level, crooked or wonky. Comprised of singer Sloss (Braindance), guitarist Chris (Infa Riot), bassist Dave (Special Duties) and drummer Tom (Infa Riot), "ON THE HUH" from Norwich have taken the scene by storm with their first album "Bit on the side", which was sold out in a few weeks. Now it's time for their new album "Second Time Around"! The 12 new songs are a perfect match of glam, brickwall, and streetpunk with strong Oi! and rock and roll influences. "On the Huh" are "on our own way" and what really sets this record miles apart, however, is the sense for catchy songwriting and the fun and authenticity they convey with every chord. "Class of 65" is a melodic homage to the original Mods from the 1960s and the youth cult that like rock and roll, influenced rebels and subcultures from Punk, Oi to Brit-Pop and beyond. Society is changing, but good old British punk rock will never go out of style. Songs like "Generation apart" or "Spirit unbroken" hit the bullseye. When you sit at the bar in an English pub after work, watching the guys at the dartboard, 'On the Huh' could be sitting at the next table. From the jukebox, 'Sussed Out' and 'Don't Wanna Be Like You' are blasting. You take a big sip of your pint, smile quietly to yourself, and nod. Outside, the world keeps spinning rapidly and has forgotten what really matters. "'Second time around' is like an old friend to you_ `Is there a more beautiful compliment for a band and their music?

»Lilac« is the first Donna Regina album since 2019’s »Transient.« The world has changed considerably since then, which has also left its mark on the Berlin indie pop duo. The songs released as part of the 2021 single »Welt in einer Stadt« (»World in a City«) for Karaoke Kalk had already dealt with the pandemic-induced standstill and its effects on urban space, and also the rest of the album shows that Günther and Regina Janssen have been influenced by recent social and political developments. »In ›Lilac,‹ I imagine good ol’ Earth as a big ol’ bear shaking us off because it can’t stand us anymore,« says Regina Janssen. It has become a serious album, Günther affirms, but he is also adamant that it is not a sad one. Musically, Donna Regina have remained true to the spirit of their early work, recently re-released by Karaoke Kalk: their arrangements are as minimalist as they are emotionally rich.

»The music is always there,« says Regina Janssen about the creation of the tracks on »Lilac.« As always, the two record their music »track by track and without computers,« as Günther notes. Samples play a smaller role this time than on earlier albums, with analogue instruments such as a monophonic synthesiser and, above all, guitars coming to the fore again. This frames lyrics that are being delivered by Regina in German, English, or in both languages. They delve even further into the intricacies of urban life. »Cities are underrated! What a civilisational achievement it is to have so many people living under one sky,« says Regina. »They constantly put you in touch with the unfamiliar. Sometimes they’ll be overwhelming, and they are always alive.« This ambivalence shapes the tone of the album that ponders on the state of the world today.

Starting with the ominous sounds of »Whole World In My Town,« through the dreamscapes of »Autumn In Paris,« to the elegiac conclusion of »No More Roses,« Regina and Günther Janssen move through different timbres and styles with a few select means. Their preference for minimalist electronics becomes evident at times, while elsewhere the pieces open up to balladic arrangements in which the guitar plays a leading role. This turns »Lilac« into a city by itself, the songs forming its soundscape: every neighbourhood looks different, every street has its own character.

Sonetos del Amor Oscuro is an ode performed by four enchanted souls who have intertwined their hearts and conjured harmonies and rhythms that wander endlessly among the spellbinding words of a poet from Granada... Federico García Lorca;
He wrung, pushed and vibrated words like tectonic plates, transforming plains into poetic mountain landscapes. He then covered them with a Moorish carpet of snow crystals and had them reflected by the dark locks of hair of a gypsy girl from Albaicín who, with a voice forged in gold and silver, sings her little sister to sleep with a soothing lullaby.

Helena Casella – vocals
Myrddin De Cauter – flamenco guitar
Stijn Kuppens – cello
Stefan Bracaval – flute, bass flute

Helena Casella, the Belgian-Brazilian vocalist with a deep, soft and warm voice, translates her multicultural background and personal thoughts into music in a passionate, soulful and refined way. With her roots in an exceptionally musical family, her music exudes this unique heritage. She effortlessly interweaves genres such as R&B, soul, hip hop and modern jazz, while remaining true to the vibrant sounds of Brazil, an essential part of her roots.
Her debut album was released earlier this year on W.E.R.F. records.

Myrddin De Cauter's music is deeply moving, complex, passionately rhythmic and deeply emotional. He has mastered the compás of flamenco, which gives him the freedom to converse with elements from jazz or classical music. His speed sometimes seems otherworldly, but those who take the time to listen closely to his music will quickly discover an immense world of pure emotion, beauty and tranquillity. After six albums and countless concerts, Myrddin proves that great virtuosos do not necessarily have to come from Spain. At the tender age of eleven, his father taught him to play the clarinet in jazz and gypsy swing style; he became part of the family orchestra and gained his first experiences on stage. A classical melody composed on the guitar prompted him to ask his father to teach him the basics of flamenco guitar. Soon after, Myrddin seemed ready for the real thing and went to Andalusia to learn from Manolo Sanlucar and Gerardo Núñez. This inspired him to compose in his own unique language, deeply rooted in the pure flamenco tradition but enriched by boundless creativity.

Stijn Kuppens is a cellist, composer and producer. In his own genre, which he describes as non-classical cello, he uses the cello in his own unique way. His profound knowledge of the complex history and techniques of the style is clearly audible: Kuppens' mastery of classical music is evident in every note he plays, whether he is performing solo or collaborating with other musicians. His skill as a musician and ambition to explore the boundaries of conventional classical music is evident in his ability to seamlessly blend different genres.

Stefan Bracaval is a classically trained flutist who graduated from the Royal Conservatory of Antwerp. His fascination with the expressive potential of improvisation led him to jazz, where he became a self-taught jazz flutist. Bracaval has collaborated on projects with prominent jazz figures such as Charles Loos, Bert Joris and the Brussels Jazz Orchestra. In addition, he worked as a soloist and arranger with the VRT Radio Choir in 2016. Bracaval leads the Stefan Bracaval QU4RTET, which emphasises the flute as a central jazz instrument and brings new repertoire rooted in jazz traditions.

Live
31/10/2025 – Café Silverio, Gent (BE)
15/01/2026 – Kloosterkapel Diepenbeek (BE)
16/01/2026 – ‘t Ey, Belsele (BE)
17/01/2026 – Sint-Luciakerk (kerkconcerten Merode), Engsbergen (BE)
23/01/2026 – Muziekcentrum Dranouter (BE)

Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.

Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:

“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”

In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.

After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.

It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

'Mauricio and Horns' by Bossa Nova legend and harmonica master Mauricio
Einhorn is produced by Jacques Muyal, with the Idriss Boudrioua Orechestra
arranged by Rafael Rocha and with guest artists Paquito D'Rivera and Lula
Galvao
In jazz, we all know the harmonica master, Mr. "Baron" Toots Thielemans, but we are
equaly fortunate to have our "Prince", Mauricio Einhorn. His early contributions in the
1950s to the birth of the Samba Jazz movement in Brazil played a pivotal role in the
creation of Bossa Nova, a genre that quickly became an integral part of the jazz world.
The influence of jazz on Brazilian music - exemplified by the great Carlos Lyra in
"Influencia Do Jazz" - was so profound that local musicians embraced it to forge a
new musical identity. Many of Einhorn's compositions have become timeless
standards performed worldwide since the early 1950s and '60s.
Together with another giant of the scene, alto saxophonist Idriss Boudrioua,
Mauricio's music gets an even grander presentation than ever before. This time, he
teamed up with an exceptionally talented young musician: a big band arranger and
trombonist named Rafael Rocha, who wrote all the arrangements and conducted the
recordings. Rafael's arrangements are nothing short of magical. They are never
overdone, always respecting the beauty of the original harmonies while infusing them
with his deep passion for jazz. His trombone solos recall the phrasing of Frank
Rosolino, and he modulates the pieces with swirling harmonies that evoke the very
roots of Brazilian jazz. In every track, Rafael enhances Mauricio's elegant and
expressive phrases without ever overpowering the artist, creating a "wall of sound"
that gracefully floats alongside Mauricio.

The Modern Soul Septet (later Modern Soul Band) was one of the hottest and most popular dance music groups in East Germany from the late 1960s to the mid-1980s.
In its early years, this band played a very unusual, raw, authentic, and freaky brand of funky Soul-Beat and Jazz-Rock for East Germany, which thrilled many music lovers and dance enthusiasts. The Modern Septett became one of the most booked dance bands in the country and recorded numerous outstanding tracks for the radio. Ahead of their time and too raw and hard for the state label, only two tracks were published in this first creative period. By the mid-70s, the Modern Soul Band had arrived in the midst of Fusion-Jazz and, thanks to their steadily growing popularity, finally received their first LP production in 1976. This album "Soul Komplex" fills a long-overdue gap in the band's discography and is an absolute must for any collector of East German Soul and Jazz.

Previously unreleased East German high class late 1960s and early 1970s funky Soul-Beat and raw Jazz-Rock titels.

"PROG-ROCK LEGENDS SPOCK’S BEARD ARRIVE ON MADFISH WITH NEW ALBUM THE ARCHAEOPTIMIST. GATEFOLD 2LP VERSION, PRESSED ON RED VINYL. “mad time signatures, impossible harmonies, intense arrangements…sensational”
THE PROG REPORT “a true heir of the legacy of bands as Yes, Gentle Giant, Pink Floyd & old Genesis…a truly fascinating voyage.” METAL TEMPLE If Spock’s Beard have taught us anything over their 30+ years in the business, it’s that they have no interest in becoming their own tribute act. The Archaeoptimist - their latest offering & first release on Madfish - is not a retreat into old habits, but a recalibration. Just when you think they’re settling in, they kick the walls out instead. At the centre of this particular storm is Ryo Okumoto, whose fingerprints are all over the album - not just as a performer, but as a driving creative force. Teaming up with co-writer Michael Whiteman (I Am the Manic Whale) & longstanding bandmembers Alan Morse & Ted Leonard, Ryo has helped shape an album that is undeniably Spock’s Beard with a characteristic wry smile to boot. The album was produced by Okumoto & recorded at each band member’s respective home studios. Esteemed producer Rich Mouser (Dream Theater/Weezer) takes up the mixing & mastering duties. Over more than 30 years, Spock’s Beard have established themselves as one of modern progressive music’s most exciting & consistent acts, with live shows as renowned as their studio work & tours that draw sold-out audiences across the globe. Their albums regularly chart worldwide, with 2018’s Noise Floor reaching #3 on the UK Official Rock & Metal Chart & #6 on the Official Progressive Albums Chart.

From the humdrum to the huge; Tiia explores heartbreak, disappointment, climate change, and dying house plants. The record plays with contrasts, light and shadow, fizz and gloom. Keys melt into darker textures before guitars and drums lift them back into sparkle. It's heaviest moment is the title track, written in an airport bathroom after Tiia's father passed, yet even here, hope breaks through in irresistible vocal harmonies and inventive melodies. "To me, 'Kind Eyes' is a feelings record," Tiia says. "The grief for my dad passing sits at the centre and expands towards the edges, but there's a range of other feelings too. Sometimes they're hard to pin down and navigate but the songs are my map, trying to chart where you are and where you're going. And listeners should remember that sometimes X does mark the spot."

Lead single 'Healing' hits like a mascara- smeared midnight drive through Lynch's America. First sketched with Prince in mind, it finally found its teeth on a long, lonely walk in north-east London: a rock song hiding in plain sight. Tiia says "As soon as I had a rough idea for the driving beat, I knew I had to get Sean Berry (fellow bandmate from the once mighty Comet Sands) involved on the guitar, and the hooks all fell into place". Dusted with plush keys, on 'Numbers Game', Tiia leans into classic rock drama - warmth turning suddenly cold, the floor falling away from underneath you. "The lesson here is don't spy on your exes, but when you do, be prepared to write a song about it. It was the first track I asked Paul Rains (of Allo Darlin' fame) to play guitar on and he instantly got where I was trying to go with it. Now he's my partner, I have no idea how he feels about the lyrics!" Tiia laughs. Having also worked with Tiia's previous cult all-girl indie band The Minor Characters, Seb Kellig lent his trademark dub- inspired production influences at the legendary sonic heaven of Sausage Studios, east London, which Tiia calls "My happy place".

Tiia will again be playing keys for Allo Darlin's four UK tour dates this October followed by tour dates as Count Jaakola. 'Kind Eyes' is set for release 21st November 2025 via Tip Top Recordings (Mandrake Handshake, Japanese Television, Pearl & The Oysters, Golden Toad).

40 Years COSMIC PSYCHOS, 40 years dirty, mean, simple, garagey punk rock & roll! EU pressing of the guys seminal 1991 album, the first for Amphetamine Reptile Records back then Noisy alternative punk rock from Down Under for fans of Stiff Richards, The Chats, Nashville Pussy, Supersuckers, Hard -Ons, AmpRep, early Sub Pop "As 1990 set in, Jones vacated the guitar spot. Knight and Walsh asked their friend Robbie Watts, a self-taught guitarist, to join the fold. Watts said yes and Cosmic Psychos ventured to Wisconsin to record their third full-length release at producer Butch Vig's Smart Studios. Released in 1991, Blokes You Can Trust was the band's first record for the American noise rock label Amphetamine Reptile, after the bandmembers became drinking buddies with label head Tom Hazelmeyer. ... The Psychos conducted a European tour during which they developed an unusual trademark. After seeing many other rock bands take bows after performances, at the end of a show in Potsdam, Germany, Cosmic Psychos decided to alter the tradition by pulling down their pants and mooning the unsuspecting audience." - Do we have to say more? Classic.

Mit England Screaming kehrt Wreckless Eric zurück zu Songs, die er zwischen 1982 und 1984 schrieb - und die ursprünglich auf dem wenig beachteten Album A Roomful Of Monkeys erschienen. Vierzig Jahre später hat Eric Goulden diese Stücke neu aufgenommen und ihnen die klangliche Tiefe und emotionale Ehrlichkeit verliehen, die sie verdienen. Das Ergebnis ist ein kraftvolles, raues Album, das Vergangenheit und Gegenwart miteinander verbindet. Eric spielt die meisten Instrumente selbst, unterstützt von Sam Shepherd (Drums), Amy Rigby und Marc Valentine (Backing Vocals, Piano) sowie dem Performancekünstler Graham Beck. Die Songs handeln von Drogen, Bankrott, Brautmode, Selbsttäuschung und dem Scheitern - Themen, die Eric mit bissiger Klarheit und schwarzem Humor verarbeitet. England Screaming ist ein musikalischer Befreiungsschlag, der die Reife eines erfahrenen Songwriters mit der Energie seiner frühen Jahre vereint.

Mit England Screaming kehrt Wreckless Eric zurück zu Songs, die er zwischen 1982 und 1984 schrieb - und die ursprünglich auf dem wenig beachteten Album A Roomful Of Monkeys erschienen. Vierzig Jahre später hat Eric Goulden diese Stücke neu aufgenommen und ihnen die klangliche Tiefe und emotionale Ehrlichkeit verliehen, die sie verdienen. Das Ergebnis ist ein kraftvolles, raues Album, das Vergangenheit und Gegenwart miteinander verbindet. Eric spielt die meisten Instrumente selbst, unterstützt von Sam Shepherd (Drums), Amy Rigby und Marc Valentine (Backing Vocals, Piano) sowie dem Performancekünstler Graham Beck. Die Songs handeln von Drogen, Bankrott, Brautmode, Selbsttäuschung und dem Scheitern - Themen, die Eric mit bissiger Klarheit und schwarzem Humor verarbeitet. England Screaming ist ein musikalischer Befreiungsschlag, der die Reife eines erfahrenen Songwriters mit der Energie seiner frühen Jahre vereint.

'Songs and Bodies' is best described as hypnagogic post-rock, an impressionistic blur of dissociated riffs, jazzy rhythms and half-heard voices that casts a beguiling digital silhouette of '90s indie music. The album began as a personal experiment, a question that emerged as Piotr Kurek cast his mind back to the era that birthed bands like Gastr del Sol, Bark Psychosis, Labradford and The Sea and Cake. Curious how this music might sound in today’s cultural climate, he started recording sketches at home on guitar and keyboard, applying the same advanced processing, editing and manipulation techniques that had nourished his last run of albums. Early on, he brought in drummer Mateusz Rychlicki and bassist Wojciech Traczyk, layering their performances into the evolving material. These ideas might have remained in that unvarnished state had Unsound not suggested a live performance of the work in October 2024. Spurred by the invitation, Kurek hardened his resolve, finishing a crumpled, uncanny set of half-songs that extend the chimerical sonic universe of the jazz-inspired 'Smartwoods' and its baroque predecessor 'Peach Blossom'.

Not an exercise in nostalgia, 'Songs and Bodies' is an examination of the '90s and '00s experimental rock canon that isolates its humanity as the world stares down a new technological dawn. At a glance, Kurek's songs are remarkably organic, diaphanous guitar-led meditations embellished with era-specific organ and electric piano vamps, cryptic vocal utterances and dusty drums, but it's all an illusion. Listen a little closer and the wrinkles appear—the robotic, garbled articulations, awkward tempo fluctuations and charming hiccups.

Kurek distills these vulnerabilities and blemishes to present a deeply personal but relatable abstraction of familiar sounds and gestures. It's the closest the composer has come to old-fashioned songwriting, but the end result is the same: an invitation to look beyond the frosted glass of an increasingly digital existence.

"Marionette presents Mélodies pour Clairons, the debut album by multidisciplinary artist Ioa
Beduneau. Based in the South of France, Ioa’s world is rooted in creation - building intricate
self-playing installations and handmade DIY electronics. His practice is driven by a desire to
connect, challenge, and open up dialogues around disability and other social constructs.
Proudly identifying as a disabled artist who is attuned to how our bodies interact with the world,
Ioa brings a fresh and inimitable perspective to electronic and electroacoustic music.
On Mélodies pour Clairons, Ioa contemplates lifeforms using modular synths, channeling
principles of physical modeling and bioacoustics. Ideas begin on paper and evolve into sound,
forming an abstract yet intentional sonic ecosystem. Clairons refers both to a musical instrument
and to a loved one with whom this music was shared, serving as a kind of sound diary during
the stillness of the pandemic. The movement of air, pressure, resonance, and the physical
properties of the clairon (a medieval trumpet) are reimagined and manipulated on this album,
resulting in impressionistic and deeply moving compositions with poetic sensibility. Organic
ASMR tones, synthesized bird calls, and pirouetting melodies of pipes and bells score an
imaginary biodome where chaos and harmony coexist. Striking and singular, these works
embody the kind of boundary-pushing music that defines Marionette."

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

His fourth album, City Music works as a counterpart to Morby’s acclaimed 2016 release Singing Saw, an autobiographical set that reflected the solitude and landscape in which it was recorded. Saw was imagined as “an old bookshelf with a young Bob and Joni staring back at me, blank and timeless. They live here, in this left side of my brain, smoking cigarettes and playing acoustic guitars while lying on an unmade bed.” And now follows City Music, the yang to its yin, the heads to its tails. It is a collection crafted using the other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image. “Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. “Stretched out on a living room floor they are somewhere in mid-70s Manhattan, also smoking cigarettes.” It finds Morby exploring similar themes of solitude, but this time framed by a window of an uptown apartment that looks down upon an international urban landscape “exposed like a giant bleeding wound.”

Thelonious Monk once famously said "the piano ain't got no wrong notes", and this mantra is evident in his playing: full of angular, challenging harmonies combined with a harsh and percussive technique. Though his style of playing was unorthodox, he could also play runs and arpeggios with great speed and accuracy. All in all Monk would prove to be a long-lasting influence on jazz piano. All this is highlighted on 1967's Straight, No Chaser, Monk's sixth album for Columbia. On it, you'll find the album's namesake "Straight, No Chaser", a composition by Thelonious himself that became one of the most important blues-based standards in the jazz repertoire. Furthermore, the album features "Japanese Folk Song", a two-century old tune that Ryan Gosling's character is practicing in the movie La La Land. Charlie Rouse plays the tenor saxophone and the liner notes are writting by jazz writer and producer Orrin Keepnews. Straight, No Chaser is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl and comes in a deluxe, heavy duty sleeve.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

–

"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.

Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.

For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.

The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.

Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.

Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.

By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.

This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music."

Thurston Moore, London, 2025

4LP vinyl boxset - pressed on opaque red, green, blue and yellow vinyl housed in printed inner sleeves with disco holes within a hardbound book jacket. The back cover is a Ludo board and the package contains Ludo game pieces, dice and instructions on how to play.

The Best of the Black President is the 13 track guide to Fela Kuti’s massive and manifold creative career. Fela was a musician, arranger, producer, political radical, outlaw and the originator of Afrobeat. This is the first time the complete compilation is available on vinyl. It is a 4 LP set, with updated cover art in a hardbound book jacket and printed inner sleeves. The individual LPs are pressed on red (sides A/B), green (sides C/D), blue (sides E/F) and yellow (sides G/H) vinyl. This edition features a Ludo game board as the back cover and comes with a perforated set of game pieces, dice, and instructions on how to play. Limited edition of 3000 for the world.



The release of this special edition coincides with the 12 episode podcast on the life and legacy of Fela, Fela Kuti: Fear No Man, produced by the Obamas and hosted by Jad Abumrad (Radiolab, Dolly Parton’s America). The series features dozens of interviews including Burna Boy, Paul McCartney, Questlove, Ayo Edebiri, David Byrne, Santigold, and President Obama himself. It was initially released on Audible on 9/15/25 and had a wide release across all podcast platforms on 10/15/25

Forever's spirit is high and tight, its sinews rumbling with communal joy as Glyders' power-trio formation, in it "for life", grooves deep into their own thing. Shuffling the deck with road-tested jams and a couple immaculate old-school tunes, Forever hits with the energy of a first album - which it kinda is, now that founders Joshua Condon and Eliza Weber have met their true other, the relentless traps-man Joe Seger. Forever starts now!

On Beacon Hill: at twilight we find Anthony Moore, roots winding backwards to the halcyon days of Slapp Happy and the "70s progressive art rock scene, at guitar and piano. With the atmospheres and accompaniments of AKA & Friends, he breathes infernal new life into songs from his six decades of multivarious music making. This new delivery system is unto a séance, a communal incantation, twining Anthony"s avant and pop traditions together in a darkly radiant coil of folky chamber music; a rope to lower the listener through cobwebs and murk, unveiling new life beneath Anthony"s mad old lines. AKA are Anthony Moore, Keith Rodway and Amanda Thompson. A pagan family of sound worshipers hailing from that unholiest of all places: Hastings UK, home of Crowley and Turing. Like their sinister forbears in that infamous tradition, this latest trinity shares a passion for subverting pattern and number, factoring unlikely permutations arising from sea and horizon, greensward, the southerly aspect, and the planisphere as half-world. Their equatorial shore speaks of a planet of water and earth, fire and air. AKA"s humble tools of choice for this endeavor are guitar, piano, organ, synthesizer and vocals. The Friends of AKA are Tullis Rennie, trombone and electronics; Olie Brice, double bass; Richard Moore, violin; and Haydn Ackerley, guitar. They too navigate the shoreline of the south coast, haunt the same taverns and regularly play together in whatever combinations fit the bill. Leaving the drums (and their drummer) at home to realize anew these dreamladen songs, AKA & Friends ensure that the notes fall around the beat and not on it, so as to define the pulse with absence. As such, time is liberated, prised free from the merciless clock; a rhythm of waves, passing through a steady-state universe of no beginnings and no endings. Discontinuities are dissolved, all is transition.

Forever's spirit is high and tight, its sinews rumbling with communal joy as Glyders' power-trio formation, in it "for life", grooves deep into their own thing. Shuffling the deck with road-tested jams and a couple immaculate old-school tunes, Forever hits with the energy of a first album - which it kinda is, now that founders Joshua Condon and Eliza Weber have met their true other, the relentless traps-man Joe Seger. Forever starts now!

The story begins with Kevin Morby absentmindedly flipping through a box of old family photos in the basement of his childhood home in Kansas City. Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him.Produced by Sam Cohen (who also worked on Morby’s Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby’s live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we’re still here? This is a photograph of that sense of yearning

The project is co-led by Copenhagen-born saxophonist Andreas Toftemark, a European Jazz Master and recipient of the Bent Jædig Prize, whose career has taken him from the Conservatorium van Amsterdam to The New School in New York. He is joined by Benny Benack III, the multi-award winning Emmy-nominated trumpeter and vocalist lauded for his charismatic performances with the likes of Christian McBride, Chad Lefkovitz-Brown, Peter Bernstein and more. Rasmus Sorensen adds a vital piano voice, fresh from winning a Danish Music Award in 2024 and releasing Balancing Act (2024) featuring modern drum icon Kendrick Scott. On bass, Finnish talent Kaisa Mäensivu - leader of her own project Kaisa"s Machine - brings international credentials shaped at the Sibelius Academy, Manhattan School of Music, and festivals including Pori Jazz. Completing the lineup is New York drummer Joe Peri, a Grammy-winning artist featured on Tony Bennett & Lady Gaga"s Love for Sale and a familiar face at Birdland, Mezzrow, and other NYC institutions. Together, they craft Roadmap - a set of originals born from tours around the Copenhagen Jazz Festival and honed on the road. Each member contributes compositions: from Toftemark"s modal-driven title track and brisk swinger What Gets You to Peri"s hard-hitting opener Icebreaker, Mäensivu"s funk-tinged The Lemur, and Sorensen"s harmonically dense New York Attitude. The quintet also delivers moments of intimacy, with Again - a co-write between Toftemark and Benack - adding lyrics penned on tour and sung with understated warmth. As Benack reflects: "When I play with Andreas, I"m thinking of Joe Henderson and Kenny Dorham, of Clifford Brown and Harold Land. But this isn"t just a revival of a classic hard bop record-the heart and soul of it is the Copenhagen-New York connection."

Johnny Marr, einer der einflussreichsten Gitarristen seiner Generation, wagte 2013 mit seinem Debütalbum
„The Messenger“ den Schritt in die Solo-Karriere und erreichte damit die Top 10 der britischen Albumcharts. Nun erscheint dieses bahnbrechende Soloalbum in einer exklusiven, limitierten Vinyl-Edition mit
dem stilvollen „Messenger Marble“-Design – ein absolutes Muss für Fans und Sammler. „The Messenger“
markierte einen entscheidenden Wendepunkt in der Karriere des Kultgitarristen und festigte seinen Status
als Solokünstler nach Jahren erfolgreicher Kollaborationen. Das Album zeigt Marrs Songwriting-Talent und
seinen unverwechselbaren musikalischen Stil, der über seine Arbeit mit The Smiths hinausreicht. Von der
energiegeladenen Hymne des Titelsongs und „Upstarts“ bis zur introspektiven Schönheit von „New Town
Velocity“ entführt das Album den Hörer in Marrs vielfältige musikalische Welt.
Die unvergleichliche Klangqualität des Albums, aufgenommen in Großbritannien und Berlin und gemischt
in den legendären Abbey Road Studios, wird in dieser Sammleredition perfekt wiedergegeben. Ob Sie das
Album zum ersten Mal hören oder es erneut entdecken – „The Messenger“ ist ein Beweis für Johnny Marrs
außergewöhnliches Talent und ein Meilenstein der modernen Gitarrenmusik.
Erleben Sie „The Messenger“ in diesem besonderen neuen Format: Die Neuauflage auf der exklusiven
„Messenger Marble“-Vinyl ist ab dem 21. November 2025 erhältlich.

Within the world of theatrical archives, there are the known, the unknown, the forgotten, and the lost. Demetrio Stratos' stage compositions for Teatro dell'Elfo's groundbreaking 1979 production Satyricon - directed by future Oscar winner Gabriele Salvatores - represents one such lost artifact now wondrously returned to life. This radical sonic work, integrating extended vocal techniques, Balinese instruments, and pioneering whale song recordings, stands as the final masterpiece of Italy's most visionary vocal experimenter, lost for over four decades until Die Schachtel's extraordinary recovery. As Stratos himself explained: "The musical operation performed on Satyricon is particular: the composer-musician here does not compose, but borrows ready-made music, vivisects it, melts it, intervenes and recomposes it on magnetic tape. The structure of the signifier, from a morphological point of view, presents itself as a conceptual collage." The music is obtained by utilizing compositions and musical elements from David Behrman, Joan La Barbara, Balinese Ketyak, Turkish Nay flute, Yugoslavian bagpipe, Pan flute, and whale song, with synthesizer interventions by Paolo Tofani. It began as part of something known - a wild, immersive theatrical event that inaugurated Teatro dell'Elfo's historic venue in 1979, was almost entirely forgotten, becoming lost and then unknown. The original production marked a radical departure for the company: no longer popular street theatre, but a dark, immersive, sophisticated spectacle that transformed their space into a rough wooden arena with a sand floor. Demetrio Stratos, working with Paolo Tofani (fellow Area member), created an entire sonic universe that subverted every conventional function of stage music. Their composition wasn't accompaniment, but autonomous sonic dramaturgy that integrated extended vocal techniques, archaic electronic elements, Nay flutes, Balinese instruments, and pioneering whale song recordings. The result was a three-dimensional soundscape that enveloped audiences, creating an otherworldly acoustic dimension. Stratos' score even intervened in the actors' vocal delivery, with the recordings capturing both the performance and his coaching sessions with the cast. The production featured young actors destined for fame - Elio De Capitani, Ferdinando Bruni, Cristina Crippa, Corinna Agustoni, Ida Marinelli - guided by Gabriele Salvatores in this adaptation of Petronius' ancient novel. Shortly after the Satyricon performances, Stratos was hospitalized for the condition that would lead to his death at just 33 years old. This work represents his final composition - a haunting farewell from one of Italy's most innovative sound artists. Die Schachtel presents this recovered work in collaboration with Teatro dell'Elfo, pulled from the original magnetic tape and carefully restored. Satyricon '79 is one of the great artifacts of 1970s Italian avant-garde - a wild, grinding sonic expose which sucks the ear into its depths, made in the spirit of collaboration and creative risk-taking. The edition includes critical apparatus with essays, testimonies from protagonists, and period photographic documentation, documenting an unrepeatable moment where theatre, vocal research and sonic experimentation converged. This release marks a poignant moment in experimental music history - Stratos' final work, now rescued from the archives and restored to its rightful place in the canon of Italian avant-garde masterpieces. A true wonder of towering historical importance. As essential as it gets for any fan of experimental music, or the history of the Italian avant-garde. Fully restored and newly mastered from the original analog tapes. Absolutely essential.

Nach gefeierten Auftritten bei den BBC Proms, im Kölner Dom und auf der New York Fashion Week veröffentlicht die Organistin, Chor-Leiterin und Influencerin Anna Lapwood ihr aktuelles Album Firedove jetzt auf Vinyl. Neben den beliebtesten Stücken des Albums sind auch zwei neue Stücke dabei, die extra für die Vinyl aufgenommen wurden: "Nimbus" von der indonesischen Komponistin Eunike Tanzil und eine Toccata von Eugène Gigout.Für ihr Album "Firedove" hat Anna Lapwood neue Arrangements zeitgenössischer Stücke von u.a. Hans Zimmer, Rachel Portman oder Alan Menken aufgenommen. Dabei ist Anna Lapwood nicht nur an der Orgel zu hören, sondern leitet bei den Stücken "Come to Me", "Firedove" und "Make You Feel My Love" auch den Chapel Choir of Pembroke College Cambridge. Beim Stück "Flight" wird Anna Lapwood von der Saxofonistin Jess Gillam begleitet. "Firedove" wurde in den Nachtstunden im Nidaros Dom aufgenommen, einer spektakulären gotischen Kathedrale aus dem 11. Jahrhundert in Trondheim, Norwegen."Ich wollte ein Album schaffen, bei dem die Hörer nie genau wissen, wohin es als nächstes geht. Es gibt viele kleine 'Easter Eggs', die man nicht erwarten würde - so der erste Auftritt des Chors. Ich habe das Gefühl, dass ich endlich gefunden habe, was ich als Künstlerin sagen möchte. Ich bin sehr stolz darauf", erklärt Anna Lapwood.Als roter Faden durchzieht "Firedove" das Motiv des Fliegens und der Entfaltung - ein Sinnbild für Anna Lapwoods künstlerische Entwicklung. Sie ist ein Phänomen. Mit der Orgel der Royal Albert Hall, an der sich fast jede Nacht übt, begeistert sie eine neue Generation von Musikfans auf Instagram und TikTok für ihr gemeinhin als altmodisch geltendes Instrument. Sie hat sich damit nicht nur Millionen Fans auf Social Media erspielt, sondern wurde auch zu Kollaborationen mit Bonobo, MRAYE, Florence & The Machine und Aurora eingeladen. Selbst Tom Cruise besuchte sie bei einer ihren nächtlichen Proben, was zu einer spontanen Orgelstunde führte. 2024 wurde sie für ihr Debüt-Album "Luna" mit einem Opus Klassik ausgezeichnet. Neben ihrer Tätigkeit als Organistin wurde sie mit 21 Jahren zur Musikdirektorin am Pembroke College in Cambridgeshire ernannt und war damit die jüngste Person, die jemals diese Position an einem College der Universitäten Oxford oder Cambridge innehatte und leitete neun Jahre lang deren Chöre.

If people were unaware of the significance of Joan Baez to western culture, her portrayal in the Bob Dylan biopic A Complete Unknown (played by Monica Barbaro) underlines how central she was to the popularization of folk music in the early 1960s. And it is her decade- previous relationship with Dylan that hovers joyously over Diamonds & Rust. The title track is about a thinly disguised ex-lover who calls up out of the blue; it remains one of her most loved songs in a 65- year- career.

There's a playful cover of "Simple Twist Of Fate" from Dylan's then just released Blood On The Tracks, complete with impersonation in a later verse; and "Winds Of The Old Days", written in response to Dylan touring again after a lengthy hiatus. Diamonds & Rust is a perfect, sunshine- drenched album of west- coast folk- tinged rock, full of star session players. It could almost have been a signal to all the recent comers on her patch many of them friends and colleagues, Joni Mitchell, Carole King, Maria Muldaur that Baez was here first and was sweetly reasserting her authority. Just listen to her mastery on "Children & All That Jazz", her cover of Stevie Wonder's "Never Thought You'd Leave In Summer" and the poignant closing medley of "I Dream Of Jeannie/Danny Boy".

MD008 is here! — a bold new chapter in theever-evolving world of re-edits. This latest instalmentis a masterclass in versatility and emotion: four distinct cuts, four immersivesoundscapes, each crafted to ignite the dancefloor in its own unforgettableway. From hypnotic vocal firestorms to cinematic tributes, MD008 is a recordthat transcends trends and celebrates the timeless art of groove. Vinyl-only,limited edition — a future classic in the making.



A1 –TVGLips
A relentless vocal workout built to commandattention from the very first beat. “TVGLips” is a powerhouse opener —hypnotic, high-energy, and unapologetically intense. Its driving rhythm andsoaring vocal lines lock dancers into a euphoric trance, pushing momentumhigher with every bar. A weapon of choice for peak-time sets.



A2 –Tu Sei
Radiating pure nostalgia, “Tu Sei” channelsthe neon-lit spirit of the 1980s with a contemporary twist. Shimmering synths,heartfelt melodies, and a groove steeped in retro romance make this track anirresistible dancefloor moment. Equal parts cinematic and soulful, it’s a loveletter to a bygone era — and a timeless anthem for now.



B1 –Inquinada
Where new wave attitude meets disco power.“Inquinada” is a darkly seductive cut that pulses with underground energy — rawbasslines, mechanical percussion, and shimmering synth layers collide to createa sound that’s both nostalgic and futuristic. Perfectly balancing edge andallure, it’s a track that keeps the floor moving deep into the night.



B2 –Gatto Fresco
Closing the EP is aheartfelt homage to one of music’s greatest icons. This is a tribute toFreddie, and it’s pure celebration — anthemic, uplifting, and full of life.With its soaring melodies and infectious groove, it captures the unbreakablespirit and theatrical brilliance of Freddie’s legacy, leaving dancersexhilarated and inspired as the lights come up.



LimitedEdition, Vinyl Only
True to form, MD008 ispressed in strictly limited quantities — once it’s gone, it’s gone forever.Collectors, selectors, and lovers of the edit craft: this is a piece you’llwant in your collection.

Mit Communication veröffentlicht Karl Bartos sein visionäres Soloalbum aus dem Jahr 2003 erneut - und trifft damit den Nerv der Zeit. Als prägendes Mitglied von Kraftwerk war Bartos maßgeblich an Klassikern wie "The Model", "The Robots" und "Numbers" beteiligt. Nach seinem Ausstieg 1990 setzte er mit Communication seine musikalische Reise fort - nun mit einem kritischen Blick auf die digitale Medienwelt. Das Album ist eine klanglich präzise und inhaltlich scharfsinnige Auseinandersetzung mit Themen wie Bildüberflutung, Identitätskonstruktion und der Fragmentierung von Realität. Was damals wie ein Blick in die Zukunft wirkte, ist heute aktueller denn je: Smartphones, soziale Medien und algorithmische Manipulation bestimmen unseren Alltag. Bartos gelingt es, elektronische Popmusik mit gesellschaftlicher Reflexion zu verbinden - ein seltenes Zusammenspiel von Klangfreude und Medienkritik. Die Neuauflage auf Bureau B ist keine nostalgische Rückschau, sondern ein Statement zur Gegenwart. "Wir leben in einer Zeit massiver Verhaltensmanipulation", sagt Bartos. "Kybernetik, künstliche Intelligenz - das ist eine große Herausforderung für die Menschheit."

E.P.C. is a musician from the end of the world... West Brittany (Bretagne).
This region of France produced many extreme ART-core musicians, deejays and sound engeneers...

But among them E.P.C. is bloody important... Remember he did "Hangars Liguides 01" on the famous La Peste label.

This selection of tunes was done in 2022 at DK mastering, recording DATs from the 90's. Archiving them too by the way...
From these DATs we did a selecta of 3 tunes you can ear on this EP
And 2 more tunes that gonna be out on Rouge De Colere Live.

With a mastering nearby Rennes, we have here a "made in Bretagne" EP.
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Limited and numbered to 180 copies
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It tooks many many time to make it happens but finally here it is !

Enjoy HIC series !!
Enjoy E.P.C. !

2025 Repress

CHIWAX PRESENTS THE SECOND RELEASES OF ROBERT ARMANI ON HIS OWN PLATFORM CALLED ROBERT ARMANI TRAXX SERIES.
THIS TIME IN THE REBOUND THE MASTERPIECE FROM 1990 FORMERLY OUT ON LEGENDARY DANCE MANIA: ARMANDO PRESENTS ROBERT ARMANI - ARMANI TRAX/ CIRCUS BELLS! INCLUDING BOTH ORIGINAL TRACKS AND TWO REMIXES BY ARMANDO. ESSENTIAL RE-MASTERED RELEASE!

Two years after making their bow via a fine contribution to the Claremont Editions 3 compilation, Nuremberg’s Neumayer Station are ready to drop their debut full-length excursion, the mesmerising and immersive Crossings.

The brainchild of drummer-turned-producer Michael Kargel, a musician with a bulging CV that includes stints in various German indie-pop and rockabilly bands, Crossings was co-produced and mixed by Frank Mollena (best known to Claremont 56 fans as the man behind the Fürsattl and Bambi Davidson projects), with additional contributions by Alexander Sticht and an impressive roll call of guest musicians plucked from Nuremberg’s vibrant musical underground.

Recorded at different points over the last three years, the eight tracks showcased on Neumayer Station’s inspired debut album draw influence from the hypnotism of classic German ‘kosmische’ recordings, the freewheeling and stoned headiness of CAN, and the gently unfurling beauty of sun soaked Balearica. Kargel, Mollena and their collaborators set the tone with opener ‘Unterführung’, where Sticht’s layered and sonically hazy vocalisations rise above space-rock guitar motifs, droning analogue synth sounds, languid bass and slow-motion drum breaks. With effects aplenty and all manner of melodic electronic flourishes, it’s a deeply psychedelic and mind-expanding affair.

‘Nalut’ follows, with Kargel’s own atmospheric howls and whistles cannily combining with sun-bright tropical guitars, echoing chords and delay-laden saxophone solos riding the dub-flecked, low-slung groove. The collective’s Balearic influences are explored in more sonic detail on ‘A Gentle Flow’, a shuffling and soft-focus affair marked out by emotive piano & jazz guitar, brushed percussion, sunrise-ready synths and pleasingly stretched-out electronic textures. Neumayer Station return to this drifting, morning-fresh and eyes-closed sound later in the LP, via the wonderous ‘Von der Morgenröte’.

The heady influence of spaced-out dub production techniques comes to the fore on ‘Bassrutscher’, an Alexander Sticht co-production rich in Americana-influenced guitar textures, metronomic dub bass, rim-shot heavy drums, mazy organ and orange-hued sundown sounds. It ushers in the more up-tempo shuffle of ‘Zielgerade’, an inner space, out-of-mind affair whose driving but loose-limbed groove provides a platform for exotic, droning and otherworldly guitar, sax and synth sounds. As with all great albums, Crossings gently builds towards a triumphant and memorable conclusion. The spacey Balearic/kosmische crossover of ‘Feeling Forst’, where darting intergalactic synth sounds rub shoulders with gentle acoustic guitars in a hallucinatory soundscape, tees up closing cut ‘Crossings’, the krautrock-rooted, sax-sporting slab of enveloping late-night beauty that first introduced listeners to Neumayer Station back in 2023. It’s a fitting conclusion to a staggeringly good debut album.

Debt is a new album by Harvey Sutherland about the cost of doing business in the meme economy. In his first LP since the 2022 debut, Boy, the Australian artist reduces his fusiony disco repertoire to ten microhoused funk essentials. This is minimalism not so much as aesthetic conceit than pressurised container, shaken in the Escherised time and space unique to our overdriven, red-lining present. The album's title nods to the financial contortions necessary to strive/survive/thrive as an independent artist. But Debt is better understood as the ledger of what we owe, and to whom, in the course of a creative life. What's the ROI on being an artist, a son, a friend, a partner, a father? Have we been worth our loved ones' own investments? If that sounds transactional, this is merely the lingua franca of our overwhelmingly digital culture, a grifter's bazaar in which Bob Dylan tunes up over Salt Bae, and Wordsworth's pitch is opposite the Rizzler.

Debt came to life when Harvey Sutherland acquired a freightload of Y2K minimal cargo from Akufen, Ricardo and Baby Ford—courtesy of local Melbourne hero Martin L—which bent the album towards a moreish pointillism. The resulting music's eyes-down minimal gestures within expressive pop shapes feels apt for the apparently contradictory things we can't help craving: immediacy and craft, on-tap "authenticity," life lessons drawn from Reel nonsense. A few years after the "neurotic funk" of Boy, a thorough excavation of interiority that comprised Harvey Sutherland's first LP proper, Debt is his to-the-point response to pressures that manifest outside the self. But in its own way it remains a reflection of Harvey Sutherland's musical innerscapes, which stretch across the grit and glitter of private-press disco and the sensual grids of Metro Area.

The 10th release on ALIM Music, a stone-cold classic, has been reborn. Gil Scott-Heron and Brian Jackson’s The Revolution Will Not Be Televised, the iconic song of protest and Black Consciousness, has been reimagined and revitalised for a new generation. With new lyrics and vocal performance from Black Thought, a reworked and bassline-heavy production by Masters at Work, Brian Jackson has recreated an absolute masterpiece.

Originally taken from Gil’s poem as performed on his Small Talk at 125th & Lenox and then released as a proto Hip-Hop song featuring Bernard Purdie’s drumming on the 1974 Pieces of a Man album, this new version updates the track’s original powerful lyrics to include references to the propaganda of Fox News, social media tropes, live streaming, taking the knee and modern day consumerism. Delivered by Black Thought in his imitable style and accompanied by Brian Jackson’s incisive jazz flute, these new lyrics represent a Black Liberation call to action for today’s world.

Louie Vega and Kenny Dope’s production gives The Revolution Will Not Be Televised a dancefloor edge that embraces a Jazz Hip-Hop flow with the absolute clarity of the message. Taken from Brian Jackson’s forthcoming and aptly titled BBE Music album, Now More Than Ever, The Revolution Will Not Be Televised will unite Boomers, Millenials and Gen-Z in its multi-generational cross-over appeal bringing the original Gorillas together with Neo-Soul and Hip-Hop heads of today.

Ne$$ and Baby J’s 3rd album comes after a long collaborative working relationship from previous group A-Alikes. Ne$$ has recently done a series of UK shows in London, Leicester and Birmingham as well as an upcoming feature on 05.21 YouTube channel and interviews on Itch FM. The tracks have also been supported on Soho radio and by Shotry Blitz. The album represents an original voice in hip-hop, addressing working-class proletariat stories of street life, and the effects of capitalism on black and poor people. Ne$$ has been a successful part of the US hip-hop seen over the past two decades, working with the likes of Mos Def, Dead Prez and Bilal. Baby J is an established UK, hip-hop producer whose production credits include Amy Winehouse, Skinnyman, Dead Prez, Plan B and Mark Ronson. The album is sonically broken and dark with a raw purist Hip Hop sound.

In 2023, k.d.b lived in a crumbling farmhouse on the edge of the River Maas. Each morning, he’d wake at 6:00 and walk along the river’s bank with his dogfriend Miemel, pausing at sunrise for a cup of coffee.

It’s 6:34, and a thick rug of mist rolls out across the river. It’s so dense that k.d.b can’t see the water beneath it. Then comes the sun: a single ray cutting through the mist like a tube of light, landing on Miemel’s face. In her mouth is a CD she’s picked up, and on the CD is the title Instrumental Romance.

'What is Instrumental Romance?' thinks k.d.b. 'Romantic instrumentals? Or a romance used instrumentally? As in, a romance used to get something—like love?'

Miemel drops the CD and turns her attention to a stray purple grape on the path. Grapes are poisonous to dogs, and as she bends toward it, k.d.b. shouts, “NO!” At that precise moment, a large fish rises from the mist. It launches into the air, mouth wide open, and hangs there above the clouds. His shout, having traveled across the river, bounces back towards k.d.b with a “NO,” and in perfect synchrony, it appears the fish is also shouting at Miemel. The timing is so perfect, they can’t be sure it isn’t.

The fish falls back down, entering its watery world with an eerie, splashless silence, leaving k.d.b and Miemel standing open-mouthed on the bank. Before they can register the perfection of this duet, another fish (or maybe the same one again) rises from the mist in the exact same spot and launches into the air. Without thinking, k.d.b shouts again. The word “ROMANCE” comes out. This time, however, he is slightly too late, and the word is too long, so “ROMANCE” lingers on after the fish has already fallen back down.

'What even is romance?' thinks k.d.b. 'The construction of mystery or excitement with dead red flowers and timing?'

A foghorn sounds behind him, and k.d.b turns 180 degrees to see a boat moving freight, right to left, along the River Maas. 'That’s strange', he thinks. 'If the river is there, then what’s that behind me, below the mist?'

Staring at the boat and its shipping containers as they float out of sight, k.d.b imagines a man. The man is standing at the bottom of a small valley, holding a fish. 'Who is this man, and what does he want?'

- Jacob Dwyer

Wenn Sie das ungute Gefühl hatten, dass 2025 irgendwie das Jahr von Thee Headcoatees werden würde, dann klatschen Sie sich selbst herzlich ab - denn überraschenderweise ist es tatsächlich so! Wir können indirekt den Tod unseres lieben verstorbenen Great Ribbon, Mr. Don Craine, dafür verantwortlich machen, dass Thee Headcoats 2022 ein Comeback feierten. Ursprünglich hatten sie geplant nur eine Tribute-EP als Thee Headcoats Sect aufzunehmen - zusammen mit Dons Downliner Sect-Kollegen Keith Grant Evans - aber dann stellten sie fest, dass sie noch ein paar Stunden Zeit im Studio hatten, und dachten sich, dass sie genauso gut auch ein neues Headcoats-Album aufnehmen könnten. Und warum auch nicht? Das Ergebnis war, ohne viel Aufhebens, das Album "Irregularis (The Great Hiatus)", das 2023 bei Damaged Goods erschien. Ende 2024, noch bevor man ein Deerstalker-Band entwirren konnte, waren die Jungs schon wieder am Werk, und eine weitere neue Headcoats-LP war ,im Kasten", deren Veröffentlichung ursprünglich für Anfang dieses Jahres geplant war. ABER dann kam irgendwo jemand auf die Idee: ,Warum sollten nur die Jungs den ganzen Spaß haben? Wie wäre es, wenn wir auch den Sisters of Suave, Thee Headcoatees, eine Chance geben?" Mit allen ihnen zur Verfügung stehender männlichen List und Tücke schalteten Thee Headcoats und Damaged Goods ihre Charmeoffensive ein. Mit purer Entschlossenheit und Hartnäckigkeit wurden Ludella Black, Kyra LaRubia, Bongo Debbie und Holly Golightly nacheinander aus ihren Verstecken gezerrt, wo sie sich lautstark wehrten (was sie am besten können), um die 14 Killer-Songs aufzunehmen, die auf ihrem neuesten Album mit dem raffinierten Titel ,Man-Trap" zu finden sind. Das war keine Kleinigkeit! Anfang 2025 wurde also eine Aufnahmesession in den renommierten Ranscombe Studios in Rochester gebucht, Gin und Snacks wurden vorbereitet, und im Handumdrehen waren die Backing Tracks im Kasten - Thee Headcoats wieder zurück als die beste Backing-Band und Thee Headcoatees zurück am Gesang. Billy Childish übernahm die Produktion. Unbeeindruckt von einigen geografischen Hindernissen auf dem Weg dorthin war Ende Mai das Ergebnis ein glänzendes neues Headcoatees-Album! UND WAS FÜR EIN ALBUM! Es ist mindestens genauso gut wie alle ihre Alben aus den Neunzigern und vielleicht sogar noch besser... (,Ja-a-a-a!", flüstert der Geist von Don Craine.) Diese Mischung aus großartigen Coverversionen und einigen fantastischen neuen Songs ergeben eine verdammt gute LP. Betreten Sie "Man-Trap" auf eigene Gefahr - Sie wissen, dass Sie es wollen! Und falls Sie sich fragen, wie die Mädchen ihre Zeit seit der Veröffentlichung von ,Here Comes Cessation" im Jahr 1999, also vor nur 26 Jahren (!), verbracht haben, lesen Sie weiter... LUDELLA BLACK hat drei Soloalben sowie Veröffentlichungen mit The Masonics vorzuweisen und gerade erst mit The 5,6,7,8's aufgenommen. Nebenbei sang sie auch mit The Shall-I-Say Quois, zusammen mit ihrer Freundin Kyra. KYRA LaRUBIA war Anfang der 2000er Jahre kurzzeitig bei The A-Lines neben Bongo Debbie & Nurse Julie (von Stuck-Ups / Buffets / CTMF) und arbeitete an einer Neuauflage ihres Albums ,Here I Am, I Always Am". Die Musik trat dann in den Hintergrund, während Kyra sich auf ihre Promotion in Sport- und Bewegungswissenschaften konzentrierte. Seit 2005 ist sie Dozentin an der University of Kent. BONGO DEBBIE hat weiterhin in einigen Bands getrommelt. Sie ist Mitglied von Ye Nuns (The Monks Tribute Band), The A-Lines, Dutronc und hat kürzlich unter anderem für die Sting-Rays ausgeholfen. HOLLY GOLIGHTLY hat seit 1999 neun Soloalben veröffentlicht, sechs davon mit Lawyer Dave in The Brokeoffs, sang ein Duett mit Jack White auf dem Album ,Elephant" von The White Stripes und tourte um die Welt.

"Viva Marina" celebrates the 100th release of Marina Records. The label was founded in Hamburg in 1993 by Stefan Kassel and Frank Lähnemann. Over the years the label released many outstanding albums by artists like The Pearlfishers, Shack, Brent Cash, The Bathers, James Kirk, The Free Design, Malcolm Ross, Ashby, Paul Quinn & The Independent Group, Der Plan, and many many more - incl. the best-selling Beach Boys/ Brian Wilson tribute album "Caroline Now!". "Viva Marina" is the 4th of the label"s acclaimed compilations - following in the footsteps of "In Bed With Marina", "Ave Marina" and "Goosebumps". These compilations have all been elaborate classy affairs with lots of attention to detail (packaging / design / liner notes / photography / mastering). Artefacts of beautifully curated Pop Art. The new compilation continues in that tradition. It features 21 tracks from the Marina roster and kindred spirits like Van Dyke Parks, The Kingfishers, Frank Schmiechen and Michel van Dyke. Featuring many exclusive and previously unissued contributions. Enjoy 21 tracks / 75 minutes of pure aural pop pleasure. Viva Marina!

Yawning Man return to the studio in 2025 with founding members Gary Arce and Mario Lalli with Bill Stinson. The new album on Heavy Psych Sounds Records "Pavement Ends" marks Arce and Lalli returning to a collaboration off the beaten path on some of the band's darkest and heaviest themes. Drenched in sonic tension and release, bleak and beautiful. The first track released titled "Bomba Negra" digs deep in the emotional undertow of Yawning Man's unique approach to rock music. The cover painting is the bands first collaboration with Joshua Tree artist Diane Bennett.

Transparent Orange Vinyl, limited to 350 copies. Yawning Man return to the studio in 2025 with founding members Gary Arce and Mario Lalli with Bill Stinson. The new album on Heavy Psych Sounds Records "Pavement Ends" marks Arce and Lalli returning to a collaboration off the beaten path on some of the band's darkest and heaviest themes. Drenched in sonic tension and release, bleak and beautiful. The first track released titled "Bomba Negra" digs deep in the emotional undertow of Yawning Man's unique approach to rock music. The cover painting is the bands first collaboration with Joshua Tree artist Diane Bennett.

Natacha Atlas ist eine international gefeierte Künstlerin mit einer der markantesten Stimmen der Welt. Die anglo-ägyptische Sängerin verbindet seit mehr als zwei Jahrzehnten elektronische Beats mit nordafrikanischer und arabischer Musik, entdeckt Verbindungen zwischen scheinbar gegensätzlichen Musikgenres, erforscht neue klangliche Welten und arbeitet dabei mit zahlreichen gleichgesinnten Künstler:innen aus aller Welt zusammen. The Best Of Natacha Atlas wurde ursprünglich im Mai 2005 veröffentlicht und ist jetzt erstmals als Vinyl erhältlich. Als dieses Best-of damals erschien, wollte Natacha nicht einfach nur eine Sammlung von Albumtiteln herausbringen. Mehrere Stücke wurden neu gemischt oder überarbeitet, was Natacha selbst in die Hand nahm. Damals sagte sie: "Ich habe beschlossen, ein paar Titel neu aufzunehmen, von denen ich fand, dass sie eine Überarbeitung oder Aktualisierung brauchten." Ebenfalls enthalten sind ihre atemberaubenden Versionen des Françoise-Hardy- Klassikers , des James-Bond-Themes , und James Browns.

Das fünfte Studioalbum von Goose und die zweite Veröffentlichung der Band im Jahr 2025 knüpft an den Erfolg von ,Everything Must Go" aus dem April an. ,Chain Yer Dragon" entführt die Zuhörer in eine reichhaltige, vollendete Welt aus Musik und vertrauten Charakteren und lädt sie ein, den Lichtern und Klängen durch schmuddelige Bars und lange Nächte auf der Straße zu folgen, die in der Klarheit eines frischen Morgengrauens verschwinden. ,Chain Yer Dragon" zeigt die Vielseitigkeit von Goose und präsentiert Rock-Songs im Stil der 70er Jahre, die sich vertraut anfühlen und durch Improvisation zum Leben erweckt werden. ,Chain Yer Dragon" spielt mit der Form und wird durch einen natürlichen Produktionsstil getragen, der dem Album das rohe, freizügige Gefühl der elektrisierenden Live-Shows der Band verleiht. Mit Titeln, die Gooses musikalische Karriere umspannen, dient ,Chain Yer Dragon" als Bindeglied zwischen einigen der frühesten, sehr beliebten Songs der Gruppe und ihrer aktuellen Entwicklung als Vierergruppe. Mit Live-Klassikern wie ,Echo of A Rose", ,Empress of Organos", ,Rockdale" und Fan-Favoriten wie ,Factory Fiction" greift ,Chain Yer Dragon" die Ursprünge der Band auf. Der Albumauftakt mit neuen Tracks wie ,Madalena" und ,Royal" konkretisiert das Universum der Night Rays Band und erweitert Ideen, die Gitarrist und Sänger Rick Mitarotonda und sein Songwriting-Partner Matt Campbell bereits 2011 entwickelt hatten. ,Es gibt eine Welt, die sich aufbaut und die sich wie die treibende Kraft dieses Albums anfühlt", sagte Mitarotonda. ,Viele dieser charakterorientierten Songs stammen aus einer Zeit und einem Ort, an dem wir unsere musikalische Stimme gefunden haben, und es ist sehr befriedigend, sie nicht nur aus der Perspektive unserer heutigen Identität und unseres heutigen Standorts wieder aufzugreifen, sondern auch weiterzuentwickeln. Diese Songs haben eine Reise hinter sich, und es fühlt sich richtig an, dass sie nun endlich ein Zuhause gefunden haben." ,Chain Yer Dragon" bietet Persönlichkeiten, Schauplätze und Musik, in denen man sich verlieren kann. Lyrische Rückgriffe und strukturiertes Storytelling erzählen eine Geschichte, die zwar nicht linear ist, sich aber dennoch zusammenhängend anfühlt. Das Album treibt den ständig wachsenden musikalischen Katalog von Goose voran und erinnert gleichzeitig daran, dass man manchmal, um voranzukommen, die Vergangenheit annehmen muss.

Colemine Records freut sich, eine spezielle 10-Jahres-Jubiläumsausgabe von ,Sound of Sinning", dem bahnbrechenden Studioalbum von Monophonics, zu präsentieren. Seit ihrer Gründung im April 2015 tragen Monophonics stolz die Fackel der reichen Musikgeschichte und -kultur San Franciscos durch die Generationen bis in die heutige Musiklandschaft. Sie halten an Traditionen fest, sind aber keineswegs Puristen, sondern spielen ihre eigene Musikrichtung, die als ,Psychedelic Soul" bekannt ist. Auf ihrem vorherigen Album ,In Your Brain" ließ sich die Band von Acts wie den frühen Funkadelic, Sly and The Family Stone und den von Norman Whitfield produzierten Platten der Temptations beeinflussen. ,Sound of Sinning" markierte den Beginn des Wachstums der Band in allen Bereichen. Mit Einflüssen aus Northern Soul, Doo-Wop, Rock ,n` Roll, Psych Pop und Filmmusik zeigen Monophonics ihre Vielseitigkeit, bleiben aber ihren Wurzeln treu. Insgesamt ist es herzliche Musik mit Old-School-Vibes, ohne dabei die Gegenwart aus den Augen zu verlieren. Diese Musik ist geprägt von dem zeitlosen Gefühl, als man noch Songs schreiben und produzieren konnte, die man sich immer wieder anhören konnte. ,Sound of Sinning" wurde von Kelly Finnigan & Ian McDonald produziert und auf einem alten Tascam-Acht-Spur-1/4-Zoll-Bandgerät in den Transistor Sound Studios in San Rafael, Kalifornien, aufgenommen. Seit ,Sound of Sinning" hat die Gruppe das von Kritikern hochgelobte Album ,It's Only Us" (2020) und das Konzeptalbum ,Sage Motel" (2023) veröffentlicht, das sich über 10.000 Mal verkauft hat. Die Band tourt weiter, hat kürzlich eine Reihe von Shows mit dem legendären Lee Fields absolviert und steht vor einer internationalen Tournee für 2025.

"Die unangefochtenen Könige des Garage Rock" sind wieder da! Zwei Jahre nach ihrem Album "Irregularis (The Great Hiatus)" aus dem Jahr 2023 melden sich Thee Headcoats mit einer neuen Platte zurück, die sich nahtlos in die Reihe ihrer besten Alben aus den 1990er Jahren einreiht. Wir präsentieren Ihnen stolz "The Sherlock Holmes Rhythm ,n` Beat Vernacular". Mit 12 fantastischen Stücken (oder Liedchen, wenn Sie so wollen), die letztes Jahr in den Ranscombe Studios in Rochester aufgenommen wurden. "The Sherlock Holmes Rhythm 'n' Beat Vernacular" erscheint am selben Tag wie "Man-Trap", das brandneue Album von Thee Headcoatees, auf dem die Jungs als Backing-Band fungieren. Thee Headcoats ist eine der vielen Musikgruppen unter der Leitung von Billy Childish und (soweit wir wissen) seine bislang produktivste. Kein Wunder, wenn man Billys unermüdliche Kreativität und seinen vollen Veröffentlichungsplan bedenkt. Thee Headcoats spielen harten R&B, Rock 'n' Roll und Punk Rock, beeinflusst von den frühen Kinks, Pretty Things und vor allem The Downliners Sect, mit einem zusätzlichen Sinn für Humor, der durch Bruce, die Vorliebe des Schlagzeugers für Deerstalker-Hüte, geprägt ist. Thee Headcoats etablierten ihren Stil auf ihrer ersten LP "Headcoats Down" Hangman, 1988 und setzten ihn mit "The Earls of Suavedom" [Crypt, 1989] und "Heavens to Murgatroyd, Even! It's Thee Headcoats! (Already)" [SubPop, 1990] fort. Auf späteren Alben wie "The Messerschmitt Pilot's Severed Hand" aus dem Jahr 1998 kam ein schlankerer, punkigerer Sound zum Vorschein, doch die Jungs blieben ihrem rauen, von den 60ern inspirierten R'n'B treu und klangen auf ihrem Comeback-Meisterwerk "Irregularis (The Great Hiatus)" aus dem Jahr 2023 im Wesentlichen unverändert. "The Sherlock Holmes Rhythm 'n' Beat Vernacular" setzt da noch einen drauf und ist beeindruckenderweise eines der absolut besten Billy Childish Alben der letzten 25 Jahre. Das glauben Sie nicht? Dann kaufen und hören Sie es und lassen sich eines Besseren belehren_

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

DOUBLE VINYL
The full album on vinyl for the first time, packaged with the classic original Designers Republic artwork


ABOUT
To celebrate the 20th anniversary, Collabs 3000: Metalism, the original classic pure techno album and first full-length collaboration between techno innovators Chris Liebing and Speedy J, is remastered and reissued via NovaMute.

Originally launched by Speedy J (aka Jochem Paap) as a platform for 12" collaborations with other artists, the Collabs series laid the groundwork for what would become one of techno's most compelling partnerships. The first release with Chris Liebing, Collabs 300 (featuring 'Trick_' / 'Treflon_'), landed in 2004 to a rapturous response; its machine-funk intensity and unmistakable breakdowns helped define the sound of early 2000s techno whilst revealing a writing and production chemistry that demanded a larger playground for their work.

That creative spark ultimately manifested in Collabs 3000: Metalism, a landmark record for techno. Combining the pair's mastery of subversive electronics and peak-time techno, the album remains a career highlight for both artists: a smouldering collision of taut techno rhythms, sonic abstraction, and, as the title suggests, robust metallic beats.

The 20th anniversary edition of this timeless techno masterpiece has been fully remastered by Liebing himself and is available on CD and for the first time on vinyl across 2 discs.

Things Gotta Change is the fourth release by Austrian soul band SLADEK, following their debut album and
two EPs. With Loveless (2024), the group redefined their sound and secured a unique place in contemporary
soul. This new ten-track album builds on that breakthrough, blending the spirit of Curtis Mayfield, Donny
Hathaway and Marvin Gaye into a style distinctly their own.
At the core of SLADEK are David Sladek (vocals, guitar), Alvis Reid (bass) and Raphael Vorraber (drums),
joined by longtime producer Mathias Garmusch. Passionate about late-’60s soul and analog recording, they
craft a warm, deep sonic palette enriched by Taineh (backing vocals, keys), Yvonne Moriel (flute) and Tobias
Meissl (vibraphone).
The opener “Weight of the World” moves from heaviness to hope over guitar riffs, Mellotron flutes and a
powerful outro. “Stranger”, the first single, turns romantic miscommunication into an uplifting groove. “Wait for
Me” reflects on tough choices before drifting into a meditative guitar and flute mantra. “What a Little Love Can
Do” delivers a calm yet urgent call for compassion. “Here to Stay”, the second single, pairs emotional
uncertainty with steadfast resolve.
Instrumental “Lotus Eater” offers a dreamlike pause, inspired by mythic forgetfulness. The title track “Things
Gotta Change” is a heartfelt plea to break harmful patterns. “Beacon”, the ballad, urges kindness in a cruel
world. “Waking Dream” brings minor-key blues and abstract introspection, while “Bye Bye” closes with highenergy farewells and fresh perspectives.
Things Gotta Change stands as a rich, analog-crafted statement—blending timeless influences, vivid
storytelling, and a deep emotional range into one cohesive, soulful journey.

Hiroki Tamaki (vocals, violin, mandolin, A.Piano, strings ensemble, Oberheim, vocoder) / Eiji Shimamura (drums) / Yuichi Tokashiki (drums) / Akira Okazawa (bass) /
Kenji Takamizu (bass) / Ken Watanabe (bass) / Ken Yajima (E.Guitar) / Fujimaru Yoshino (E.Guitar) / Toshiaki Fuefuki (A.Guitar) / Koichi Tani (A.Guitar) / Yonosuke Segami (percussion) /
Fumitaka Anzai (A&E.Piano, synthesizer) / Keiko Yamakawa (Harp)

A psychedelic spiritual trip led by multiple vocals and synthesizers

A musical picture scroll of ecstasy depicting a world of harmony on a celestial scale

Violinist, composer and arranger Hiroki Tamaki was inspired by the lectures of Indian religious philosopher Bakwan Shree Rajneesh to create a magnificent musical picture scroll.
Tamaki's own vocals are layered on top of each other, and the music is mysterious and harmonious, woven together by synthesizers by Fumitaka Anzai (TPO, Urusei Yatsura music director).

Includes the progressive rock approach of "Poem of Mahamudra" and "Meditation," as well as "River" and "Beautiful Song," which were selected for "Nippon Acid Folk 1970-1980"
(Time Capsule) and are being re-evaluated as hidden gems of acid folk.

Fire of God's Love ist das legendäre Album der australischen Nonne Schwester Irene O'Connor aus dem Jahr 1973 - eine aufrichtige, gefühlvolle und unbewusst psychedelische Songfolge, die der Selbstreflexion und dem Erwachen des inneren Geistes gewidmet ist. Das Album ist eine Sammlung von originellen spirituellen Folksongs, die von O'Connor geschrieben und mit Gitarre, E-Orgel, Drumcomputer und ihrer engelsgleichen Stimme interpretiert wurden. Es wurde von ihrer Mitschwester und Toningenieurin Sister Marimil Lobregat auf erstaunlich futuristische Weise aufgenommen und abgemischt. Freedom To Spend bietet die erste autorisierte Neuauflage dieses heiligen Grals seit 1976; das Album wurde mit Sorgfalt und Bedacht aus den besten verfügbaren Quellen restauriert und remastered. Als junge römisch-katholische Nonne im Orden der Franziskanerinnen von Maria begann Schwester Irene 1953 ihre musikalischen Aktivitäten, als sie von Sydney in ein Kloster in Singapur zog und begann, Kinder mit Lernschwierigkeiten zu unterrichten. Nachdem sie sich eine Akustikgitarre zugelegt und drei einfache Akkorde gelernt hatte, blühten Irenes Lieder dank der Begeisterung der Kinder auf. Durch einen glücklichen Zufall arbeitete ein Elternteil eines Schülers bei einem kommerziellen Radiosender in Singapur, und Irene wurde eingeladen, im Studio des Senders aufzutreten und aufzunehmen. Sie ging hin, trug ihre Ordenstracht und hatte ihre Gitarre dabei, und nahm dort 1965 ihren ersten eigenen Song auf. Unter dem Pseudonym Myiriam Frances, um innerhalb ihres Ordens anonym zu bleiben (,Nonnen machten so etwas nicht", bemerkte O'Connor), veröffentlichte Phillips Ende der 1960er Jahre eine Reihe von Platten von Schwester Irene. Im Kloster in Singapur lernte Schwester Irene Schwester Marimil Lobregat kennen, eine Mitbrüderin aus dem Franziskanerorden, die Anfang der 1960er Jahre von den Philippinen auf die Insel gezogen war. Mehr als ein Jahrzehnt später trafen sie sich, wie durch göttliche Fügung, in einem anderen Kloster in Point Piper in Sydney wieder. Marimil, ebenfalls Musikerin und Klangenthusiastin, arbeitete als Audio- und Videotechnikerin beim Catholic Radio and Television Centre in Homebush im Westen Sydneys. Schwester Irene, die treu an ihren musikalischen Fähigkeiten feilte, und Schwester Marimil schmiedeten den Plan, sich an mehreren Sonntagnachmittagen im Zentrum zu treffen und die Lieder zu komponieren, die später auf ,Fire of God's Love" erscheinen sollten. Die Lieder von ,Fire of God's Love" werden von Schwester Irene mit ihrer engelsgleichen Sopranstimme gesungen (mit Texten in Englisch, Latein und Malaiisch) und von Schwester Marimil produziert und auf einem Teac 3340S 4-Spur-Tonbandgerät aufgenommen. Marimil trug maßgeblich dazu bei, die unheimliche Jenseitigkeit zu zaubern, die das Album durchzieht. Die kristallklare Stimme von Schwester Irene wird exquisit von einem schimmernden Mosaik aus Hall und analogen Synthesizer-Klängen umhüllt, während sie wie eine Glocke in der Dunkelheit erklingt und so lange nachhallt, bis die Wahrheit oder das Göttliche erscheint. Themen wie Barmherzigkeit, Gnade, Licht und Geheimnis werden von sanften Akustikgitarrenklängen und ewigen Pianotönen untermalt, die sich langsam auf vibrierenden Fäden drehen. Bei den Songs mit Keyboards spielte Schwester Irene alle Parts live in Echtzeit, einschließlich der Basspedale. Die Drum Machine wurde von derselben Orgel erzeugt, die sie spielte, und gleichzeitig ausgeführt. All dies trägt zu einer Atmosphäre erhöhter Präsenz bei, einem organischen Blitz, der tief aus dem Unterbewusstsein kommt. Entstanden aus Ideen, die in einem ruhigen Kloster und abgeschieden von weltlichen Einflüssen entstanden sind, wird der liturgische Rahmen des Albums durch die innige Hingabe zweier Schwestern gefiltert - ihre eigene Interpretation von Popmusik, befreit von Anmaßung und oberflächlichem Glamour. Der Titel des Albums stammt, wie viele seiner Songs, aus einem Bibelvers, in diesem Fall Lukas 12:49. Aber Schwester Irene und Schwester Marimil haben ihn in einen Raum gebracht, in dem alle spirituell Suchenden die Übertragung oder: ungewöhnliche Hermeneutik schätzen können. Die Texte sprechen universelle Bedürfnisse, Wünsche und Sehnsüchte an: ewige Liebe und Zuneigung, ein Ende der Einsamkeit, eine neue Form der Erleichterung, Befreiung von der Angst vor dem Tod. Anstelle von Hymnenformeln bedient sich Schwester Irene, vielleicht unbeabsichtigt, der damals modischen Folk- und Psychedelic-Musik, um eine Predigt zu halten, die sich wie Liebesbriefe an eine göttliche Präsenz liest und über jede formale Religion hinaus zur Seele spricht. ,Fire of God's Love" ist ein inspirierendes Archiv früher elektronischer Experimente zwischen zwei befreundeten Frauen und Mystikerinnen, eine Dokumentation ihrer göttlichen Energie, die auf disziplinierte Weise kanalisiert wurde. Bei seiner Erstveröffentlichung war es weder ein durchschlagender Erfolg noch ein Misserfolg, sondern wurde vor allem mit Neugierde aufgenommen. Die beiden haben nie wieder gemeinsam Musik gemacht, und in den 50 Jahren seitdem zieht ihre einmalige Zusammenarbeit weiterhin Zuhörer an, die sie in Plattenläden entdecken (sei es die Originalpressung von Phillips oder die klanglich überlegene Neuauflage von 1976 bei Alba House Communications) oder eher über YouTube, als zufällig entdeckter und heiß diskutierter Kultklassiker. Heute lebt Schwester Irene in Sydney, Australien, und freut sich, dass ein neues Publikum in ihrer Musik mit Schwester Marimil einen Sinn findet. Ihre Geschichte ist ein Beweis dafür, dass man nicht viel braucht, um ein visionäres, zeitloses Album zu schaffen: ein Tonbandgerät, Freundschaft und ,The Fire of God's Love", um den Weg in die Zukunft zu ebnen. Das kann ein spiritueller Freund sein oder ein irdischer Begleiter direkt neben einem. Sister Irene O'Connors ,Fire of God's Love" wird am 14. November über Freedom To Spend auf Vinyl, CD und als digitale Ausgabe veröffentlicht.

Fire of God's Love ist das legendäre Album der australischen Nonne Schwester Irene O'Connor aus dem Jahr 1973 - eine aufrichtige, gefühlvolle und unbewusst psychedelische Songfolge, die der Selbstreflexion und dem Erwachen des inneren Geistes gewidmet ist. Das Album ist eine Sammlung von originellen spirituellen Folksongs, die von O'Connor geschrieben und mit Gitarre, E-Orgel, Drumcomputer und ihrer engelsgleichen Stimme interpretiert wurden. Es wurde von ihrer Mitschwester und Toningenieurin Sister Marimil Lobregat auf erstaunlich futuristische Weise aufgenommen und abgemischt. Freedom To Spend bietet die erste autorisierte Neuauflage dieses heiligen Grals seit 1976; das Album wurde mit Sorgfalt und Bedacht aus den besten verfügbaren Quellen restauriert und remastered. Als junge römisch-katholische Nonne im Orden der Franziskanerinnen von Maria begann Schwester Irene 1953 ihre musikalischen Aktivitäten, als sie von Sydney in ein Kloster in Singapur zog und begann, Kinder mit Lernschwierigkeiten zu unterrichten. Nachdem sie sich eine Akustikgitarre zugelegt und drei einfache Akkorde gelernt hatte, blühten Irenes Lieder dank der Begeisterung der Kinder auf. Durch einen glücklichen Zufall arbeitete ein Elternteil eines Schülers bei einem kommerziellen Radiosender in Singapur, und Irene wurde eingeladen, im Studio des Senders aufzutreten und aufzunehmen. Sie ging hin, trug ihre Ordenstracht und hatte ihre Gitarre dabei, und nahm dort 1965 ihren ersten eigenen Song auf. Unter dem Pseudonym Myiriam Frances, um innerhalb ihres Ordens anonym zu bleiben (,Nonnen machten so etwas nicht", bemerkte O'Connor), veröffentlichte Phillips Ende der 1960er Jahre eine Reihe von Platten von Schwester Irene. Im Kloster in Singapur lernte Schwester Irene Schwester Marimil Lobregat kennen, eine Mitbrüderin aus dem Franziskanerorden, die Anfang der 1960er Jahre von den Philippinen auf die Insel gezogen war. Mehr als ein Jahrzehnt später trafen sie sich, wie durch göttliche Fügung, in einem anderen Kloster in Point Piper in Sydney wieder. Marimil, ebenfalls Musikerin und Klangenthusiastin, arbeitete als Audio- und Videotechnikerin beim Catholic Radio and Television Centre in Homebush im Westen Sydneys. Schwester Irene, die treu an ihren musikalischen Fähigkeiten feilte, und Schwester Marimil schmiedeten den Plan, sich an mehreren Sonntagnachmittagen im Zentrum zu treffen und die Lieder zu komponieren, die später auf ,Fire of God's Love" erscheinen sollten. Die Lieder von ,Fire of God's Love" werden von Schwester Irene mit ihrer engelsgleichen Sopranstimme gesungen (mit Texten in Englisch, Latein und Malaiisch) und von Schwester Marimil produziert und auf einem Teac 3340S 4-Spur-Tonbandgerät aufgenommen. Marimil trug maßgeblich dazu bei, die unheimliche Jenseitigkeit zu zaubern, die das Album durchzieht. Die kristallklare Stimme von Schwester Irene wird exquisit von einem schimmernden Mosaik aus Hall und analogen Synthesizer-Klängen umhüllt, während sie wie eine Glocke in der Dunkelheit erklingt und so lange nachhallt, bis die Wahrheit oder das Göttliche erscheint. Themen wie Barmherzigkeit, Gnade, Licht und Geheimnis werden von sanften Akustikgitarrenklängen und ewigen Pianotönen untermalt, die sich langsam auf vibrierenden Fäden drehen. Bei den Songs mit Keyboards spielte Schwester Irene alle Parts live in Echtzeit, einschließlich der Basspedale. Die Drum Machine wurde von derselben Orgel erzeugt, die sie spielte, und gleichzeitig ausgeführt. All dies trägt zu einer Atmosphäre erhöhter Präsenz bei, einem organischen Blitz, der tief aus dem Unterbewusstsein kommt. Entstanden aus Ideen, die in einem ruhigen Kloster und abgeschieden von weltlichen Einflüssen entstanden sind, wird der liturgische Rahmen des Albums durch die innige Hingabe zweier Schwestern gefiltert - ihre eigene Interpretation von Popmusik, befreit von Anmaßung und oberflächlichem Glamour. Der Titel des Albums stammt, wie viele seiner Songs, aus einem Bibelvers, in diesem Fall Lukas 12:49. Aber Schwester Irene und Schwester Marimil haben ihn in einen Raum gebracht, in dem alle spirituell Suchenden die Übertragung oder: ungewöhnliche Hermeneutik schätzen können. Die Texte sprechen universelle Bedürfnisse, Wünsche und Sehnsüchte an: ewige Liebe und Zuneigung, ein Ende der Einsamkeit, eine neue Form der Erleichterung, Befreiung von der Angst vor dem Tod. Anstelle von Hymnenformeln bedient sich Schwester Irene, vielleicht unbeabsichtigt, der damals modischen Folk- und Psychedelic-Musik, um eine Predigt zu halten, die sich wie Liebesbriefe an eine göttliche Präsenz liest und über jede formale Religion hinaus zur Seele spricht. ,Fire of God's Love" ist ein inspirierendes Archiv früher elektronischer Experimente zwischen zwei befreundeten Frauen und Mystikerinnen, eine Dokumentation ihrer göttlichen Energie, die auf disziplinierte Weise kanalisiert wurde. Bei seiner Erstveröffentlichung war es weder ein durchschlagender Erfolg noch ein Misserfolg, sondern wurde vor allem mit Neugierde aufgenommen. Die beiden haben nie wieder gemeinsam Musik gemacht, und in den 50 Jahren seitdem zieht ihre einmalige Zusammenarbeit weiterhin Zuhörer an, die sie in Plattenläden entdecken (sei es die Originalpressung von Phillips oder die klanglich überlegene Neuauflage von 1976 bei Alba House Communications) oder eher über YouTube, als zufällig entdeckter und heiß diskutierter Kultklassiker. Heute lebt Schwester Irene in Sydney, Australien, und freut sich, dass ein neues Publikum in ihrer Musik mit Schwester Marimil einen Sinn findet. Ihre Geschichte ist ein Beweis dafür, dass man nicht viel braucht, um ein visionäres, zeitloses Album zu schaffen: ein Tonbandgerät, Freundschaft und ,The Fire of God's Love", um den Weg in die Zukunft zu ebnen. Das kann ein spiritueller Freund sein oder ein irdischer Begleiter direkt neben einem. Sister Irene O'Connors ,Fire of God's Love" wird am 14. November über Freedom To Spend auf Vinyl, CD und als digitale Ausgabe veröffentlicht.

With no musical background and without ever having performed in public, Zelmani rose to the top of the charts in 1995
with her self-titled debut album. Until now, she has released up to fifteen albums and was described as Sweden's answer to
Norah Jones. In 2005 she released A Decade Of Dreams 1995-2005, a compilation album featuring both fan favourites and her
personal favourite tracks of the decade.

This double LP features 18 tracks including “Going Home” and “Dreamer” and eventually reached #2 in the Swedish album charts.

1995-2005 A Decade of Dreams is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes a 4-page booklet with photos and notes about the songs.

Der Erfolg von Pavement mit ihrer ausverkauften Reunion-Tour, den goldenen Schallplatten oder jüngst dem von der Kritik gefeierten "Pavements"-Film ist ein Beweis für ihr großes Erbe, welches bis heute junge Newcomer-Bands beeinflusst. Obwohl sie in ihrer ursprünglichen Zeit von 1989 bis 1999 zu einer der einflussreichsten amerikanischen Indie-Rock-Bands wurden, erreichten sie nie den Mainstream-Erfolg anderer Kollegen dieser Zeit. Ihr Lo-Fi-Stil und die oft ironischen, abstrakten Texte haben allerdings eine treue Fangemeinde aufgebaut. Wie seltsam bahnbrechend diese wunderbar verspulte wie verspielte Band ist, wurde einem gerade erst jüngst wieder im Kino durch den Film "Pavements" bewusst, dessen Soundtrack jetzt auf Vinyl und CD erscheinen wird. Der Soundtrack, zusammengestellt vom Pavement-Produzenten/Cutter Robert Greene und der Band selbst, vereint disparate Elemente des Films. Dazu gehören Dialog-Ausschnitte, Szenen aus dem fiktiven Oscar-Köder-Biopic "Range Life", sowie Aufnahmen der Besetzung aus dem Jukebox-Musical "Slanted! Enchanted!". Ergänzt wird das Ganze durch Live- und Probe-Aufnahmen der Reunion-Tour der Gruppe im Jahr 2021. Die Aufnahmen der kompletten Band wurden von Bryce Goggin abgemischt, der bereits an den Pavement-Klassikern "Crooked Rain Crooked Rain", "Wowee Zowee" und "Brighten the Corners" mitgewirkt hat.

Die erste Single von einem der vielversprechendsten neuen Stars der aktuellen Soul-Szene. Tauche ein in die Welt von Taylor Williams, einem talentierten jungen Soulsänger aus Greensboro, North Carolina. Er wurde der Colemine-Familie durch Blake Rhein, dem Gitarristen der Indications, vorgestellt und fand sofort eine kreative Verbindung zu Label-Besitzer Terry Cole. Seine erste Single für Colemine wurde in der Portage Lounge in Loveland, Ohio, mit Charles Alley am Schlagzeug aufgenommen. Taylor strahlt einfach Talent, Charisma und Freundlichkeit aus. Kurz nachdem die Rhythmus-Tracks für ,Dreaming" aufgenommen waren, schrieb er schnell den Refrain und die Strophen und nahm seinen Gesang im ersten Anlauf auf. Auf der B-Seite dieser 45er-Single ist Taylor Williams mit seiner Interpretation eines Juwels der Numero Group von The Exceptional Three zu hören. Produziert von Leroi Conroy in roher und minimalistischer Weise, bringt Taylor diesen staubigen Song ins Jahr 2025, ohne dabei die eindringliche Authentizität des Originals zu verlieren. Mr. Williams verleiht dem Track nicht nur seine hochfliegende und gefühlvolle Stimme, sondern spielt auch Gitarre, Orgel und Vibraphon. Ein wahrer Renaissance-Soul-Mann!

Ubek returns. The mysterious Polish duo digs out a new collection of degraded echoes, salvaged from authority. Galvanised as if lost to the shock of formal experiments.

Ubek III revises the present and takes us back to other versions of actuality.

UBEK (SUC29) UB + -ek, with UB being an initialism of Urząd Bezpieczeństwa (literally "Security Office”).

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), and trad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel. Loving You from 1957 was Elvis Presley’s first soundtrack and accompanied the eponymous film that follows a delivery man who is discovered by a music publicist and a country–western musician who wants to promote the talented newcomer. This was Presley’s first major starring role. The fact that only the tracks on the A-side appeared in the movie couldn’t spoil the fun for the fans, as the LP contained hits such as “(Let Me Be Your) Teddy Bear” reaching #1 in the U.S., some covers and some lesser-known deep cuts. It’s not without reason that this album reached Certified Gold status. The Midas touch, so to speak. Loving You is available as a limited edition of 1500 individually numbered copies on yellow translucent coloured vinyl.

e 5Hey Negrita (Inspiration By Ron Wood) Steven Wilson Remix 2025
[f] 6Melody (Inspiration By Billy Preston) [Steven Wilson Remix 2025]





[e] 5Hey Negrita (Inspiration By Ron Wood) [Steven Wilson Remix 2025]
[f] 6Melody (Inspiration By Billy Preston) [Steven Wilson Remix 2025]





[e] 5Hey Negrita (Inspiration By Ron Wood) [Steven Wilson Remix 2025]
[f] 6Melody (Inspiration By Billy Preston) [Steven Wilson Remix 2025]

After completing his nationwide run with Ice Nine kills, the rocker has been hard at work prepping Cruel World. The collection of songs includes several notable features, including the likes of From First To Last, as well as Ice Nine Kills. The 9-song minialbum is chock full of TX2's well-known hard-hitting sinister sound, and he's bringing an added dose of heavy with these new songs as well. Fan-favorite track "MAD," which has seen 10,000+ video creates on TikTok and has created an unstoppable buzz around the project. Rising out of the shadows of a small town known for music, Fort Collins; TX2 brings an unmatchable intensity in his music through the form of powerful raw lyrics and explosive performances. After struggling for so many years as an artist, TX2 used his pain as fuel and finally found his sound. As a result, his music went viral on TikTok and he now has ~800K followers on the platform. TX2 has since begun a movement known among his fans known as the "X Movement", which is all about bringing awareness to mental health and creating a safe space for those in need to talk. The rules are simple, any member can vent and share how they are feeling, while other members are encouraged to push other members' self-esteem up. The movement is currently growing every day, providing a platform to speak about mental health, vent, and support one another. TX2 wants everyone to know they are not alone in their struggles. The nine rack minialbum is available on CD & LP!

Neues Album der unbestrittenen, unverzichtbaren amerikanischen Rock’n’Roll-Band Cheap Trick zum 50-
jährigen Bandjubiläum. Fünf Jahrzehnte lang standen sie für unvergessliche Hooks, stadiontaugliche Hymnen und den unverkennbaren Power-Pop-Punch. Jetzt feiern die Mitglieder der Rock’n’Roll Hall of Fame
Cheap Trick unglaubliche 50 Jahre Bandjubiläum mit der Veröffentlichung ihres mit Spannung erwarteten
neuen Albums!
Das ist nicht einfach nur neue Musik; es ist der Beweis einer legendären Karriere. Von den legendären
Riffs von Rick Nielsen und dem donnernden Bass von Tom Petersson über den beeindruckenden Gesang
von Robin Zander bis hin zum unerbittlichen Beat, der ihren Sound definiert hat, bietet dieses Album alles,
was Fans seit Generationen lieben. Freut euch auf frische, elektrisierende Tracks, die ihre charakteristische
Energie mit dem zeitlosen Songwriting verbinden, das sie zu einer der beliebtesten Rockbands gemacht
hat.
Feiert mit uns fünf Jahrzehnte beispiellosen Einflusses und puren Rock’n’Roll-Spirit. Diese neue Songsammlung beweist, dass die Flamme von Cheap Trick heller brennt als je zuvor. Machen Sie sich bereit, aufzudrehen!

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

Mit Caramel entführt Connan Mockasin in seine ganz eigene Klanggalaxie – ein Ort zwischen surrealem R’n’B, verführerischem Soul und psychedelischer Pop-Experimentierfreude. Nach Kollaborationen mit James Blake, MGMT und Charlotte Gainsbourg sowie Tourneen mit Radiohead und den Finn-Brüdern zeigt sich der neuseeländische Künstler erneut als musikalischer Visionär. Das Album, fast vollständig in einem Tokioter Hotelzimmer aufgenommen, schillert in warmen, träumerischen Klangfarben und entfaltet eine verführerisch entrückte Atmosphäre.
Mit seinem Hang zu verdrehten Songstrukturen und einer betörenden Funk-Sensibilität schafft Mockasin ein Werk, das zwischen Traum und Realität schwebt – hypnotisch, intim und unwiderstehlich eigen.

Gold Nugget LP

HighSchool veröffentlichen ihr lang ersehntes selbstbetiteltes Debütalbum. Das Melbourner Duo Rory Trobbiani und Luke Scott sorgte erstmals mit der Debüt-EP „Forever At Last“ für Aufsehen, zog daraufhin nach London um mit Dan Carey (Wet Leg, Fontaines D.C., Franz Ferdinand) einige Songs aufzunehmen. Mit ihrem aufregenden Mix von Lo-Fi-, New-Wave-, Gothic- und Post-Punk-Sounds konnten sie bereits das Publikum auf zahlreichen Festivals und Supports für Sam Fender, Chvrches und zuletzt Wunderhorse begeistern. Für die Arbeit an ihrem Debütalbum zogen Trobbiani und Scott nach Australien zurück, holten sich Unterstützung von den Produzenten Ben Hillier (Blur, Depeche Mode) und Finn Bellingham (RIP Magic, Sam Akpro, Sunken) und haben nun eine essentielle Platte im Gepäck. Kernthema ist passend zum Bandnamen das Hochschulleben. Die 12 Tracks kanalisieren perfekt die rastlose Energie und die rosaroten Mythen der Jugend.

Die Grammy-gekrönten Songwriter The Bros. Landreth kehren mit ihrem vierten Studioalbum ,Dog Ear" zurück. Die mehrfach mit dem JUNO Award ausgezeichneten liefern ein herzliches und energiegeladenes Album, das die unbestreitbare Energie dieser Band einfängt. Inspiriert von der Freude und Kameradschaft, die sie während zweier lebhafter Jahre auf Tournee nach der Pandemie erlebt haben, begaben sich die Brüder Joey und Dave Landreth zusammen mit ihren engen Mitarbeitern Roman Clarke, Murray Pulver und Ian Phillips ins Studio. ,Dog Ear" wurde in einer inspirierten fünftägigen Session aufgenommen und ist das bisher fröhlichste und hoffnungsvollste Album der Band, das die Melancholie der Vergangenheit hinter sich lässt und Themen wie Familie, Optimismus und emotionale Resilienz erkundet. Das Album enthält elf emotional bewegende Tracks, darunter Beiträge von Bonnie Raitt, die dem fesselnden ,Half Moon Eyes" ihre ikonische Stimme leiht und ,Knuckles" in ein tiefgründiges Duett verwandelt. Die ebenfalls aus Winnipeg stammende Powerfrau Begonia liefert eine faszinierende Performance zum Albumabschluss ,Strange Dear" und verleiht der Erzählung des Albums zusätzliche Tiefe. Im Kern ist Dog Ear eine ehrliche Auseinandersetzung mit der Frage, was es bedeutet, für die Menschen, die man liebt, immer da zu sein - insbesondere aus der Perspektive der Elternschaft. Songs wie das beschwingte ,I'll Drive", geschrieben zusammen mit Jonathan Singleton aus Nashville, verkörpern unbeschwerte Flucht aus dem Alltag, während das zarte ,Half of Me" die tiefen Verbindungen unterstreicht, die Beziehungen ausmachen. Die herausragenden Songs ,Dog Ear" und ,Vincent" bieten fesselnde Betrachtungen über Stabilität, Freundschaft und persönliches Wachstum, präsentiert mit der für die Bros. typischen geschickten Gitarrenarbeit, melodischen Wärme und lyrischen Aufrichtigkeit. Mit internationaler Anerkennung, JUNO Awards, einem Grammy Award (als Songwriter für Bonnie Raitts Grammy-prämierte Americana-Performance von ,Made Up Mind" aus dem Jahr 2023) und Lob von Kritikern wie Rolling Stone, NPR, American Songwriter und vielen anderen festigen The Bros. Landreth ihren Ruf als Meister ihres Fachs. Ihre energiegeladenen Live-Auftritte begeistern das Publikum weltweit, und mit Dog Ear liefern sie ihr bisher stimmigstes und mitreißendstes Statement.

From the maniacal opening notes and carnival barker howl that launch the album, The Ugly Organ wasted no time searing itself into a listener's ears and quickly established Cursive as a musical force with which to be reckoned. A selfaware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, The Ugly Organ wowed critics and audiences alike with its cerebral, cathartic blend of songs. Fiercely intelligent and cohesive - the liner notes laid the songs out like a play, complete with stage directions - across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it "a marvelous collection of riddles and left turns, conceived as a single piece of musical theater") and earned accolades from Rolling Stone ("a brilliant leap forward"), Entertainment Weekly, Billboard, Alternative Press, MAGNET ("The best punk record you'll hear all year"), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists. The Ugly Organ feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series – NOW That's What I Call An Era - Disco: 1973-1980 – a dazzling celebration of the golden age of disco.



This stunning 3LP set, pressed on blue, violet and pink vinyl, showcases 48 essential tracks that lit up the dancefloors, charts, and airwaves at the height of disco fever — an era when glittering anthems, euphoric grooves, and iconic vocal performances defined nightlife around the world.



LP1 opens in iconic style with Chic’s monumental ‘Le Freak’ followed by Sister Sledge’s equally legendary ‘We Are Family’, and Gloria Gaynor’s empowering #1 ‘I Will Survive’. Anthems follow from Sylvester with ‘You Make Me Feel (Mighty Real)’ and Chaka Khan with ‘I’m Every Woman’, ahead of the timeless ‘Young Hearts Run Free’ by Candi Staton and the first side finishes with production by Chic’s Nile Rodgers and Bernard Edwards on massive hits for Diana Ross with ‘Upside Down’, and Sheila & B. Devotion with ‘Spacer’. Flip the LP over for Amii Stewart’s version of ‘Knock On Wood’ followed by The Three Degrees, Eruption and the first smash from Boney M., ‘Daddy Cool’. The Village People topped the chart with ‘YMCA’ which has become an enduring party favourite, which leads to the infectious ‘Let’s All Chant’ from the Michael Zager Band, Lipps Inc. with ‘Funkytown’ and to close the first LP, sci-fi disco from Dee D. Jackson with ‘Automatic Lover’.



LP2 begins with Donna Summer’s epic version of ‘MacArthur Park’, before Earth, Wind & Fire with The Emotions bring pure euphoria on ‘Boogie Wonderland’, and McFadden & Whitehead with the floor-filling ‘Ain’t No Stoppin’ Us Now’. Great vocals from Marvin Gaye and Harold Melvin & The Blue Notes come ahead of George McCrae’s ‘Rock Your Baby’, one of the collections’ earliest and inspirational moments. UK artist Tina Charles hit the top with ‘I Love To Love’, and Andrea True Connection complete the side with the ear-worm ‘More More More’ whilst over on the other side legends Frankie Valli & The Four Seasons hit dancefloor gold and the #1 spot with ‘December, 1963 (Oh, What A Night)’, ahead of The Trammps with their era-defining ‘Disco Inferno’. A Taste Of Honey, Grace Jones and a second appearance from Diana Ross are up next – before the LP closes with an enduring classic, ‘Follow Me’ from Amanda Lear, Patrick Juvet’s ‘I Love America’, and Frantique with ‘Strut Your Funky Stuff’.



LP3 bursts to life with the international smash and UK #1, ‘Yes Sir, I Can Boogie’ from Baccara, before a huge hit cover from Belle Epoque with ‘Black Is Black’. Next; Alicia Bridges, Rose Royce and UK chart toppers The Real Thing, ahead of funk-infused disco brilliance from Kool & The Gang and Barry White – whilst the side closer is Yvonne Elliman’s ‘If I Can’t Have You’, from the Saturday Night Fever soundtrack and over on the final side there’s a stellar run of Disco nuggets: kicking off with Elton John’s irresistible ‘Are You Ready For Love’, originally released in 1979 and a #1 in 2003 along with ‘Boogie Nights’ from Heatwave, The Emotions with ‘Best Of My Love’, and LaBelle’s influential ‘Lady Marmalade’. The anthemic ‘Got To Be Real’ from Cheryl Lynn is next ahead of the trio of closing tracks: Odyssey with the sublime ‘Native New Yorker’, Thelma Houston’s Grammy-winning ‘Don’t Leave Me This Way’, and fittingly, Donna Summer’s iconic ‘Last Dance’, ending the collection in perfect style.



An unforgettable journey through the songs that defined the dancefloor: NOW That’s What I Call An Era – Disco: 1973-1980 — the definitive celebration of disco’s golden age.