French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.
“La Conga Vieja” channels the spirit of the Nickodemus, Quantic and Tempo’s evergreen hit “Mi Swing Es Tropical” - a driving 4/4 groove built on Afro-Latin percussion, salsa piano, and punchy horn lines. What started as an improvised moment at a Puerto Rico show playing a borrowed, decades-old conga became the foundation for this uptempo dancefloor cut. Featuring vocals from Puerto Rican poet Flaco Navaja and trumpet from Carlos Sarduy, the track blends classic Latin rhythms with modern club sensibility. Perfect for DJs moving between tropical, house, and global sets. Includes a bonus beat, radio edit, and instrumental.
This release pairs 'In the Heights' standout Flaco Navaja with Grammy Award–winning trumpeter Carlos Sarduy (Chucho Valdés), delivering a globally rooted, crossover-ready sound. The track comes from internationally respected producer/DJ Nickodemus, whose catalog spans five albums and 11 Turntables on the Hudson compilations, backed by strong digital metrics (52k+ followers, 704k+ monthly listeners, 300M+ streams), including “Mi Swing Es Tropical” (63M+) and multiple other high-performing tracks. The release also features Italian percussionist Gabriele Poso, whose catalog has surpassed 10M+ streams. Nickodemus tours globally to consistent demand, with strong listenership across the USA, France, Spain, Germany, UK, Netherlands, Mexico, Italy, Canada, and Australia. Supported by press in Billboard, Rolling Stone, Complex, The FADER, and Paste, plus global radio (BBC 6, FIP, RFI, KCRW, KEXP).
c 03: La Conga Vieja (Radio Edit) feat. Flaco Navaja & Carlos Sarduy
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]
[c] 03: La Conga Vieja (Radio Edit) [feat. Flaco Navaja & Carlos Sarduy]
[d] 04: La Conga Vieja (Rado Edit Instrumental) [feat. Flaco Navaja & Carlos Sarduy]
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Last delivered 45 days ago available to reorder, subject to availability
Ltd Edition! Das Darkwave Elektronik-Duo BOY HARSHER aus Northampton, Massachusetts veröffentlichen nochmals ihre Katalog-Klassiker in verschiedenen Farben!
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Last delivered 3 days ago available to reorder, subject to availability
Comes with liner notes and interview on the back of the sleeve.
Dennis & Christy Soares are a husband-and-wife duo whose prolific output - over 100 albums and nearly 2,000 songs recorded across CD, cassette, vinyl, and streaming - stands as one of the most quietly remarkable self-made catalogs in contemporary music. Based for two decades on the Big Island of Hawai'i before recently relocating to Centralia, Washington, the pair have been making music together since meeting at San Joaquin Delta College in 1986, channeling a DIY spirit rooted in sincerity, spirituality, and an unshakeable belief in the power of a song. Their work spans platforms most listeners have never heard of, distributed through sheer determination and an infectious enthusiasm for reaching new ears.
Free At Last is an 11-track anthology compiled by AGS founder Roger Bong, representing less than 1% of Dennis & Christy's total recorded output. Drawing from more than 600 songs considered over the course of 12 years, the collection makes no claim to being definitive - instead, it offers what Bong calls "simply an invitation": a way in for new listeners, and a distillation of the warmth and pure intention that runs through everything this duo creates. From their earliest recordings to the present day, Dennis & Christy have never stopped making music on their own terms. Free At Last is an introduction long in the making, and very much overdue.
This next manifestation of Corvus Corone is a project featuring one As’teka tribal original and 3 collaborators with their own take. All RMX’s are different but stay within the parameters of the original and the label. Get two 12“ and mix for an endless experience.
A trip into the dark heart of the jungle where evil could be lurking anywhere. Are those birds or bats? Was that a gigantic insect crawling? Was that shadow moving? Did you hear that voice? Arghh, is it day or nite? What day is it? I am getting stuck in quicksand - I...am...being...sucked...in...
Originally released on Philips Ethiopia in 1973. A mixture of modern and traditional instruments marks the stages of an Amhara wedding. Wedding photos and liner notes inside.
OOZ proudly presents the sixth instalment on the label with Nate Oldfield’s inaugural solo EP. Informed by minimalist techno and intuitive modes of machine music – made predominantly with hardware – Nate puts forth a record that feels as though it’s dancing out of the shadows and into the light. Eery chords and vocals are paired with sharp percussive rhythms by a producer that seems to revel in the play of music-making. At points stark and almost plaintive, the depth of feeling throughout the record is contrasted by the playful nature of how sound is manipulated. Grooves plod along to cold, melodic chimes, guitar plucks and a discussion about walking through Danson Park near Nate’s hometown of Abbey Wood, South-east London.
For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.
What the press said:
“an absolutely astounding album” 4.5/5 - DIY
“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork
“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters
“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME
Released for the first time ever on vinyl, the original Bare Bones release was recorded entirely in the Spring of 2010, this album is a collection of acoustically arranged songs culled from concerts recorded during the "Bare Bones Tour", featuring pianist Gary Breit. For this latest version, a newer recording of "Here I Am" has been added that was recorded in Melbourne, Australia in 2025. Featuring special live versions of many songs from Adams" extensive and well loved catalogue, including "Cloud Number 9" and "Heaven" as well as rarities like "The Right Place" and "The Way You Make Me Feel". Originally released in 2010, this newly packaged version features new cover art and design, created especially for Bad Records (Adams" own label). The album contains 19 songs across 2X LPs packaged in a gatefold sleeve with printed inner sleeves, obi and shrink wrap.
Released for the first time ever on vinyl, the original Bare Bones release was recorded entirely in the Spring of 2010, this album is a collection of acoustically arranged songs culled from concerts recorded during the "Bare Bones Tour", featuring pianist Gary Breit. For this latest version, a newer recording of "Here I Am" has been added that was recorded in Melbourne, Australia in 2025. Featuring special live versions of many songs from Adams" extensive and well loved catalogue, including "Cloud Number 9" and "Heaven" as well as rarities like "The Right Place" and "The Way You Make Me Feel". Originally released in 2010, this newly packaged version features new cover art and design, created especially for Bad Records (Adams" own label). The album contains 19 songs across 2X LPs packaged in a gatefold sleeve with printed inner sleeves, obi and shrink wrap.
Few bands have defined the sound of American melodic rock quite like Night Ranger. From the thunderous riffs of “Don’t Tell Me You Love Me” to the soaring anthem of “Sister Christian,” this new Best Of collection captures the very essence of their decades-long career — now reimagined for 2026. Featuring the classic hits alongside fan favorites and standout tracks from their most recent albums, this compilation spans the full spectrum of Night Ranger’s signature sound: anthemic choruses, blazing guitar solos, and unforgettable melodies. Highlights include the power-pop perfection of “(You Can Still) Rock in America,” the heartfelt balladry of “When You Close Your Eyes,” and the cinematic sweep of “Four in the Morning.” But “Best of the last 20 years… and Some Hits” is not just a look back. It also celebrates the band’s creative output over the last 20 years, spotlighting tracks like “Time of Our Lives,” “High Road,” “No Time to Lose,” “Somehow Someway,” and “Truth,” proving that Night Ranger’s energy, songwriting, and musicianship have only grown stronger with time. These songs show that the band continues to innovate while staying true to the melodic rock roots that made them legendary.
The current lineup — Jack Blades (bass and vocals), Kelly Keagy (drums and vocals), Brad Gillis (guitars), Eric Levy (keyboards), and Keri Kelli (guitars) — delivers every track with the energy and precision that have kept Night Ranger at the forefront of rock for more than four decades. This edition also features two bonus tracks that make this compilation truly special: a fresh studio take on “Wasted Time” recorded at Sweetwater Studios, accompanied by an exclusive music video, and a festive live performance of “Feliz Navidad” that showcases the band’s playful side. Perfectly timed ahead of their summer 2026 tour, this Best Of serves as both a definitive introduction for new fans and a must-have collection for longtime followers. Whether revisiting the classics or discovering the new 2026 renditions and recent masterpieces, Night Ranger – Best of the last 20 years… and Some Hits is a celebration of enduring melodies, electrifying performances, and the unforgettable spirit of one of rock’s most iconic bands.
Magi Merlin’s debut LP, POWER HOUSE, is a high-production, 12-track masterclass in modern pop - an infectious, high-energy record that feels deceptively familiar at first touch, yet every time you reach for a comparison, you realize it doesn't quite fit; a one-of-one project that remains as polished as it is daring.
Conceptually, POWER HOUSE is an exploration of the internal architecture we all inhabit, housing the conflicting rooms of anger, fear, vanity, and ultimately, a reclaimed sense of power. Where Magi Merlin’s previous work, Gone Girl, was a study of external strength, this new era is an ode to the realization that inner work is the only true outer work. With a perspective that is both empathetic and furious, and a grow-as-you-go philosophy, she proves that real change starts small but sounds massiv
After a career spanning over thirty five years, from UK underground upstarts and outliers, to major success on the international stage - including tours with UK icons Iron Maiden and genre legends Dio - My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.
As part of the “Peaceville Three”, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.
Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, ‘God is Alone’ 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun.
With the addition of all-time genre classic opuses Turn Loose the Swans, and The Angel and the Dark River also representing My Dying Bride’s much-loved early to 90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.
Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.
Anthology of Sombre Reflections also contains 2 large posters depicting the Turn Loose the Swans CD artwork image, plus the original poster included in As the Flower Withers. A selection of photo prints of the band from this era are also included.
Mit ihrem fünften Album Memories of the Future entwerfen The Fourth Wall ein eindringliches Klangbild einer Zukunft in der Krise. Inspiriert von Denkern wie Mark Fisher und Frederic Jameson thematisieren die neun Songs die schwindende Fähigkeit, sich eine lebenswerte Zukunft vorzustellen - und die psychologischen Spannungen, die daraus entstehen. Aufgenommen im urbanen Umbruchgebiet Portlands, spiegelt das Album die Atmosphäre zwischen Verfall und Neuanfang wider: verlassene Industriebauten treffen auf beginnende Gentrifizierung. Diese Kulisse prägt den Sound - eine Mischung aus distanzierten Klangräumen, körnigen Gitarren und kantigen Synths. Die Songs bewegen sich zwischen Nostalgie und Eskapismus: Während City Lights Receding die Sehnsucht nach einer verlorenen Vergangenheit einfängt, erzählt Kármán Line von radikalem Ausbruchswillen und der Suche nach Bedeutung im Spektakel. The Fourth Wall verbinden auf Memories of the Future Indie-Rock mit konzeptueller Tiefe - ein atmosphärisches Album über Stillstand, Überreizung und die Frage, was von unseren Zukunftsträumen bleibt.
That sound reaches a new height with her fourth solo record, Fireflies. Recorded with producer Tony Braunagel in Nicole's hometown of Kansas City, it's not just a record about roots -- it's about the growth that occurs when reflection, resilience, and real artistry all combine. From nostalgic tracks like "Take Me Back" (featuring North Mississippi Allstars' Luther Dickinson) to empowered anthems like "Gaslight" and "Tug of War," Fireflies burns bright, deepening Danielle Nicole's exploration into soul, R&B, and the rich tapestry of American roots music.
2 Of Clubs may have enjoyed only a brief recording career, but Linda Parrish and Patti Valentine left behind a remarkable body of work. This 10-inch vinyl mini-album gathers their complete recordings for the first time, including every Fraternity Records release and two previously unissued tracks discovered in the label’s tape archive.
The duo became local favourites in Cincinnati during the mid-1960s after meeting while performing at the popular Guys & Dolls nightclub, accompanied by the Driving Winds, led by Linda’s husband Carl Edmondson. Discovering how well their voices blended, they joined forces as 2 Of Clubs and soon caught the attention of Fraternity Records founder Harry Carlson, who signed them to the label with Edmondson acting as producer and manager.
In 2021, Golden Earring announced their parting after more than 60-years as a group. This meant that their last live show, held at the Rotterdam Ahoy on 16th November 2019, was also their final performance as a band. With this knowledge, the excellent audio recordings of this tremendous concert were unshelved in close cooperation with the band and John Sonneveld – the band’s long-time technical assistant and producer. The result: You Know We Love You!
It's the ultimate goodbye of this legendary Dutch rock band and available as a limited edition of 500 individually numbered copies on transparent vinyl. This 3LP is packlaged in a deluxe trifold sleeve featuring a collage of photos that fans of Golden Earring submitted, plus a 4-page booklet including a replica of the original concert poster.
Released in 1991, the Cramps’ “Look Mom No Head!” is a stone-cold classic.
As well as black vinyl, it was also released on red and Ace are delighted to give fans old and new the opportunity to restock their vinyl blood bank with that delicious colour.
"There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.
Splatter Vinyl, exklusiv via 375 Media. "There Near" ist das sechste Studio-Album, das DINOSAUR JR. seit ihrer gefeierten Wiedervereinigung vor 20 Jahren aufgenommen haben. Zwar gab es seit "Sweep It Into Space" vor fünf Jahren einige Live Veröffentlichungen und Archivsammlungen, doch nichts kommt an ein komplett neues Album voller frischer DINO Songs heran. Und auf "There Near" stehen sämtliche Regler auf Anschlag. Das Album entstand in kurzen, intensiven Arbeitsphasen über den Zeitraum eines Jahres hinweg in den Bisquiteen Studios in Amherst. Aufgenommen wurde es nahezu vollständig vom Kerntrio der Band: Schlagzeuger Murph, Bassist und Sänger Lou Barlow sowie Gitarrist und Sänger J Mascis. Unterstützung kam lediglich durch einige Piano- und Orgelparts von Ken Mauri. Das Ergebnis entfaltet von Anfang bis Ende eine enorme Wucht. Der Gitarrensound von Mascis klingt auf "There Near" noch ursprünglicher und animalischer als gewohnt, was möglicherweise auch an einem kürzlich erworbenen Mesa Boogie MK 1 Verstärker aus den 1970er Jahren liegt. "Ich habe denselben Verstärker gekauft, den Chris Dixon hatte, als wir unser erstes Album aufgenommen haben", erklärt Mascis. "Chris hat uns damals bei sich zu Hause mit genau diesem Amp aufgenommen. Er hat einen wirklich interessanten Klang, den ich schon lange nicht mehr hinbekommen habe. Genau zu diesem Sound wollte ich auf diesem Album zurück. Die ROLLING STONES begannen in den 70ern Mesa Boogies zu benutzen, nachdem sie SANTANA damit gehört hatten. Danach machten es THE CLASH nach und so weiter. Mit den späteren Modellen wurde der Sound zunehmend Metal-lastiger. Aber der MK 1 klingt wie ein aufgemotzter Fender. Man hört immer wieder, dass Rick Rubin Bands dazu bringt, ihr erstes Album zu hören und zu sagen: Lasst uns wieder zu diesem Sound zurückkehren. Also habe ich mir seinen Rat einfach selbst gegeben." Auf die Frage nach der oft schwer greifbaren Bedeutung seiner Texte antwortet Mascis: "Wenn ich einen Song schreibe, weiß ich oft selbst nicht genau, worum es darin geht. Ich schätze, die Bedeutung zeigt sich irgendwann von allein. Ich verwende einfach die Worte, die funktionieren. Vieles wird auch von irgendeinem esoterischen Kram beeinflusst, den ich gerade lese. Ich versuche, nicht zu viel darüber nachzudenken. Mich nervt es, dass Spotify inzwischen alle Songtexte anzeigt. Wo bleibt da der Spaß?" Mit "There Near" setzen DINOSAUR JR. ihre Reihe von mittlerweile zu Klassikern mutierten Alben fort. Die neuen Songs dürften mit ihren gewaltigen Riffs live ebenso eindrucksvoll funktionieren wie die Klassiker des Bandschaffens. Bis die Band wieder auf der Bühne zu erleben ist, wird "There Near" ein treuer Begleiter sein. Je näher, desto besser.
Ben Kwellers zweites Album "On My Way" (2004), das bislang noch nie auf Vinyl erschien, erhält nun die Deluxe-Behandlung. Damit wird zugleich einem zwei Jahrzehnten alten Wunsch der Fans entsprochen: diesen Titel endlich im Schallplattenformat in den Händen zu halten. "On My Way (Deluxe)" erscheint als Doppel-LP und umfasst das Originalalbum – neu gemastert von der Audio-Legende Howie Weinberg – sowie 12 bislang unveröffentlichte Raritäten, darunter Demos & B-Seiten, die allesamt aus der "On My Way"-Ära stammen. Langjährige Fans werden einige dieser Raritäten noch von Live-Konzerten (das Elvis-Cover "Can't Help Falling In Love With You") oder aus Zeiten von Napster und Limewire (der Song "Tylenol") kennen. Wer bereits die "Sha Sha (Deluxe)"-Ausgabe von Kwellers Debütalbum besitzt, wird diese zweite Veröffentlichung sicherlich als perfekte Ergänzung für die eigene Sammlung betrachten.
Eighteen months on from the runaway success of The Only Place I Know — the debut that crashed in at #1 on the ARIA charts and #2 on the ARIA Vinyl Chart — Lake Macquarie's Surf Trash are back, and they're not watering it down. Their sophomore album No Chaser lands neat, on the rocks, no apologies: ten tracks of melodic surf-pop-punk hammered out by a band that has clearly spent the last year sharpening every edge.
It's a record you can hear the kilometres in. Between The Only Place I Know and now, Andrew Scott, Lachlan Jackson, Patrick Russell and Nick Scott have torn through a sold-out national run, criss-crossed the UK and Europe, and made a habit of leaving rooms louder than they found them. No Chaser carries the dust from all of it — bigger choruses, leaner production, a touch more bruise underneath the gloss. There's still that windows-down, salt-on-the-windscreen feel that made the debut impossible to ignore, but it's wired into songs that swing harder and cut deeper. Less wistful afternoon, more last-light drive home with the volume creeping up.
The four-piece make melodic surf-pop-punk that sounds great turned up loud — driving in your mate's car on the way back to the beach. Their debut, The Fire Note wrote, "delivers a dynamic debut… blending raw energy, introspective depth, and timeless indie rock flair." Manchester World called their first show on UK soil "epic… high energy and great song after great song," and the live reputation has only grown since: a band that's earned every inch of the ceiling it now hits.
No Chaser is the sound of them no longer waiting for permission. Singalong harmonies, fast tempo changes, good old-fashioned rock 'n' roll with a sense of urgency.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. The 2005 EP Like a Plague Upon the Land is a punchy release praised for its authenticity to the genre. Never before released on vinyl, this hard-hitting fan favorite is heavily rooted in 70s rock-influenced doom. Traditional, slow, and heavy in the vein of Reverend Bizarre and Saint Vitus. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. The 2005 EP Like a Plague Upon the Land is a punchy release praised for its authenticity to the genre. Never before released on vinyl, this hard-hitting fan favorite is heavily rooted in 70s rock-influenced doom. Traditional, slow, and heavy in the vein of Reverend Bizarre and Saint Vitus. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. Crushing debut The Awakening from 2004 is an album of raw, slow, monolithic traditional doom with a gritty sound. Featuring heavy, battleaxe-in-the-gut riffs and depressing, slow leads, The Awakening is strongly influenced by Pentagram and Candlemass, with Conan-style lyrical themes and Ozzy-like vocals. An essential, cult classic album for the fans of true doom. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
The Gates of Slumber’s debut album and EP reissued in August Svart Records continue to reissue the works of Indiana’s true doom metal legends The Gates of Slumber by bringing back their debut album The Awakening and early EP Like a Plague Upon the Land in late August 2026. Crushing debut The Awakening from 2004 is an album of raw, slow, monolithic traditional doom with a gritty sound. Featuring heavy, battleaxe-in-the-gut riffs and depressing, slow leads, The Awakening is strongly influenced by Pentagram and Candlemass, with Conan-style lyrical themes and Ozzy-like vocals. An essential, cult classic album for the fans of true doom. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work, which resulted in the new self-titled album released in 2024 on Svart Records.
Mixed Emotions: Das legendäre Comeback-Album „We Belong Together“ erstmals auf Vinyl!
„Tag Alter, ick bin Drafi“. Mit diesen inzwischen legendären Worten begrüßte Poplegende Drafi Deutscher
im Jahr 1986 den jungen Sänger Oliver Simon. Es war der Beginn einer der erfolgreichsten Duo-Partnerschaften
der deutschen Musikgeschichte. Jetzt, genau 40 Jahre nach ihrer Gründung, erscheint das gefeierte
Comeback-Werk „We Belong Together“ aus dem Jahr 1999 zum ersten Mal auf edlem schwarzem Vinyl.
Eine Erfolgsgeschichte der Extraklasse
Was ursprünglich als Solo-Projekt für Oliver Simon geplant war, entwickelte sich unter der Regie von
Mastermind Drafi Deutscher schnell zum Pop-Phänomen Mixed Emotions. Die Kombination aus Drafis
markantem Timbre und Olivers glasklarer Stimme traf den Nerv der Zeit:
Chart-Rekorde: 1987 mit drei Singles gleichzeitig in den Single-Charts.
Edelmetall: Gold- und Platin-Auszeichnungen für beide Alben in den 80ern.
Internationale Hits: Erfolge weit über die Grenzen Europas hinaus, bis nach Südafrika.
Das 1999er Comeback: Mehr als nur Nostalgie
Nach der Trennung 1989 kehrten Mixed Emotions zehn Jahre später spektakulär zurück. Statt lediglich alte
Aufnahmen neu zu mischen, entschied sich das Duo für komplette Neuaufnahmen ihrer größten Klassiker
und Albumtracks, sowie für neue Hits wie den Uptempo-Ohrwurm „You Are My Angel“. Erneut stürmten
sie die Top 30 der Album-Charts und begeisterten Millionen in zahlreichen TV-Shows. Die musikalische
Chemie war auch nach einer Dekade Pause ungebrochen.
Exklusives Highlight für Sammler
Die vorliegende Vinyl-Edition bringt diesen Meilenstein der Pop-Schlager-Geschichte erstmals auf dem
„schwarzen Gold“ zurück. Als besonderes Schmankerl enthält die LP den brandneuen 2026er DJ Herzbeat
Remix von „Just For You“, der den unverkennbaren Mixed-Emotions-Sound perfekt in die heutige Zeit
übersetzt. Die Vinyl ist limitiert auf 500 Stück und nummeriert.
Die musikalische Formel von Mixed Emotions bleibt zeitlos. Für Drafi, Oliver und ihre treuen Fans gilt
auch heute mehr denn je: We Belong Together!
Euronymous’ Deathlike Silence Productions in 1993, & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.
With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.
‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).
Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.
The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.
Formed in 1981 by two Rockford, Illinois, and two Brookfield, Wisconsin, natives in the midpoint of Milwaukee, Die Kreuzen (pronounced dee kroyt-zen) chose their name specifically to avoid stereotyping because “no one knows what it means. 'Die Kreuzen' roughly translates out of German meaning 'to intersect' or 'to hybridize,' which is exactly what they did on their five LP's for Touch and Go. Their self titled debut is considered one of the most seminal hardcore records of the early 80’s. As far as their second album October File is concerned, remember that flannel shirt movement in the 90's? This is what those guys were listening to.
1998’s OPUS OF STELLAR DOOM ROCK FROM THE SWEDISH LEGENDS,
INCLUDING MICHAEL AMOTT OF ARCH ENEMY ON GUITARS.
FEATURES NEWLY REMASTERED AUDIO & PRESENTED ON LIMITED PEARL ARCTIC VINYL.
Candlemass was formed by bassist & songwriter Leif Edling in Stockholm, Sweden in 1984. Well known for their epic doom metal & continuing their legacy as genre leaders to this day, Candlemass has influenced a generation of the genre’s subsequent greats from My Dying Bride to Paradise Lost - Candlemass themselves taking a large influence from Black Sabbath.
‘Dactylis Glomerata’ was a come-back album of sorts, originally released in 1998, after the band had temporarily been laid to rest after the ‘Chapter VI’ album.
‘Dactylis…’ was an album of more stripped down dirty doom rock, with solid songwriting on display, evoking what some described as a strong stoner vibe, along with some hard rock elements. This was in contrast to the more epic heavy metal inspired compositions from previous albums, which the band were more known for. Having stood the test of time incredibly well, ’Dactylis Glomerata’ is a gem in the band’s rich history spanning four decades.
The album notably also features guitars by Michael Amott of Arch Enemy (ex-Carcass), & also a guest appearance by Ian Haugland from Europe.
This edition of ’Dactylis Glomerata’ is presented on limited pearl arctic vinyl, with newly band-approved remastered audio courtesy of Patrick Engel at Temple of Disharmony.
This album is a masterpiece in which the three core pillars of Akira Ishikawa’s musical vision—jazz, rock, and African music—are fused in a sublime and thrilling balance. One arresting track follows another: the solemn and majestic “Prayer”, evoking the eternal land; the clear yet subtly psychedelic “Dawn”; the serene and beautiful “Love”; and the highly dynamic, explosive “Jumbo”.
The brilliance of Hirmasa Suzuki’s arrangements deserves special mention—simple yet profoundly deep, they give vivid clarity to the album’s overall concept and imagery. Among Ishikawa’s serious, non–instrumental-cover works, this album stands shoulder to shoulder with Electrum, Bakishinba, and Uganda, and should be regarded as one of his definitive achievements.
Der Mann hinter der Maske, Jonathan Bree, kehrt mit seinem sechsten Studioalbum "Don't Call It Love" zurück. "Don't Call It Love" kommt als Doppelalbum mit 17 Songs und ist ein erotisches Konzeptalbum, das sich mit Sexualität auseinandersetzt und Kollaborationen mit Frauen aus den Bereichen Musik, Film, Fotografie und Tanz enthält. "Don't Call It Love" klingt wie der düstere Soundtrack zu einer versteckten, mit Samt ausgekleideten Bar in einem schummrigen Keller - mal verspielt und verführerisch, mal beunruhigend und provokativ. Brees neue Songs setzen sich mit dem gesamten Spektrum der Sexualität und ihrer emotionalen Last auseinander - ein Album, das sich weigert, wegzuschauen, und sein Herz buchstäblich auf der Zunge trägt. Fans haben diesen neuen Sound bereits mit den düster-nostalgischen Klängen von New Order und Siouxsie & The Banshees verglichen, wobei Brees musikalische Entwicklung über die Jahrzehnte hinweg endlich ihr von den 80ern durchtränktes, melancholisches Ziel erreicht hat: ein melodramatisches Meisterwerk raffinierter Sleaze-Musik. Jonathans charakteristische Orchesterarrangements sind nach wie vor vorhanden und verbinden diesmal eine karge, düster angehauchte Noir-Ästhetik mit filmischer Instrumentierung und seinem grüblerischen Bariton. "Don't Call It Love ist zudem Jonathans bisher kollaborativstes Album, auf dem eine außergewöhnliche internationale Riege von Frauen einige der entscheidenden Momente des Albums mit ihren einzigartigen Stimmen bereichert. Die bei den Fans beliebte Princess Chelsea kehrt für drei beeindruckende Songs zurück ("Live To Dance", "Part Time Love", "Slow"); Neuseelands bestgehütetes Musikgeheimnis Rachel Clarke bewegt sich bei "Savour My Love" von intimer Zurückhaltung zu schwindelerregender Intensität; die französische Fotografin und Künstlerin Eloïse Labarbe-Lafon liefert auf "Chameleon" eine charaktervolle Gesangsdarbietung, die an die Tradition von Jane Birkin anknüpft; während die französische Musikerin und Schauspielerin Adah Dylan auf dem Titeltrack zu hören ist und den Leadgesang mit direkter, schnörkelloser Klarheit trägt: "don't call it love_ when we fuck." Für einen Künstler, der bereits sechs Alben veröffentlicht hat, gibt es hier eine Reihe von Premieren - sein erstes Doppelalbum, sein gitarrenlastigstes Album, sein kollaborativstes und sein bisher kompromisslosestes konzeptionelles Werk. Es wird nicht jedem gefallen, und es ist klar, dass Bree kein Interesse daran hat, es abzuschwächen. Wie er es ausdrückt: "Als ich meiner Mutter davon erzählte, schlug ich ihr vor, dieses Album vielleicht lieber auszulassen."
Nichts ist so beständig wie der Wandel. Kaum eine Band verkörpert diesen Gedanken derzeit so konsequent wie Musa Dagh. Die Formation um Aren Emirze bewegt sich seit dem selbstbetitelten Debüt von 2021 durch die Zwischenräume von Noiserock, Alternative und Post-Hardcore - laut, sperrig, emotional aufgerissen und zugleich getragen von einem feinen Gespür für Dynamik, Atmosphäre und Melodie. Der Bandname verweist dabei auf den historischen Kontext des armenischen Genozids und bildet einen leisen, aber prägenden Resonanzraum im Selbstverständnis der Gruppe. Von Anfang an wirkt Musa Dagh weniger wie eine klassische Band als ein offener Prozess. Keine feste Konstruktion, sondern ein Zustand permanenter Bewegung. Unterschiedliche musikalische Erfahrungen, Persönlichkeiten und Energien treffen hier aufeinander, verschieben sich gegenseitig und erzeugen genau daraus jene Spannung, die zum Kern dieser Musik geworden ist. Schon die ersten Aufnahmen entstanden aus dieser Offenheit heraus. Begegnungen und Arbeitsphasen mit Thomas Götz, Sascha Madsen und Aydo Abay wirkten dabei weniger wie klassische Kooperationen, sondern eher wie Reibungsflächen, die den Sound immer wieder neu ausrichten. Musa Dagh klangen nie nach Stillstand - jede Verschiebung öffnete neue Räume. Mit "Endurance" tritt die Band nun in eine neue Phase ein. Die Veränderung wirkt nicht wie ein Bruch, sondern wie eine Erweiterung dessen, was Musa Dagh immer ausgemacht hat: Bewegung, Offenheit und Transformation.
Silbernes Vinyl, limitiert auf 500 Exemplare. Nichts ist so beständig wie der Wandel. Kaum eine Band verkörpert diesen Gedanken derzeit so konsequent wie Musa Dagh. Die Formation um Aren Emirze bewegt sich seit dem selbstbetitelten Debüt von 2021 durch die Zwischenräume von Noiserock, Alternative und Post-Hardcore - laut, sperrig, emotional aufgerissen und zugleich getragen von einem feinen Gespür für Dynamik, Atmosphäre und Melodie. Der Bandname verweist dabei auf den historischen Kontext des armenischen Genozids und bildet einen leisen, aber prägenden Resonanzraum im Selbstverständnis der Gruppe. Von Anfang an wirkt Musa Dagh weniger wie eine klassische Band als ein offener Prozess. Keine feste Konstruktion, sondern ein Zustand permanenter Bewegung. Unterschiedliche musikalische Erfahrungen, Persönlichkeiten und Energien treffen hier aufeinander, verschieben sich gegenseitig und erzeugen genau daraus jene Spannung, die zum Kern dieser Musik geworden ist. Schon die ersten Aufnahmen entstanden aus dieser Offenheit heraus. Begegnungen und Arbeitsphasen mit Thomas Götz, Sascha Madsen und Aydo Abay wirkten dabei weniger wie klassische Kooperationen, sondern eher wie Reibungsflächen, die den Sound immer wieder neu ausrichten. Musa Dagh klangen nie nach Stillstand - jede Verschiebung öffnete neue Räume. Mit "Endurance" tritt die Band nun in eine neue Phase ein. Die Veränderung wirkt nicht wie ein Bruch, sondern wie eine Erweiterung dessen, was Musa Dagh immer ausgemacht hat: Bewegung, Offenheit und Transformation.
Als wir zuletzt von Marci (alias Marta Cikojevic von der Soft-Rock-Band TOPS aus Montreal) hörten, tanzte sie auf ihrem 2022 erschienenen Album ,Marci" den Schmerz weg. Vier Jahre später kehrt Cikojevic mit ,Mask Lady and Late Night Girl" zurück - einem Album voller Hymnen für Partygirls für die Zeit, wenn die Party vorbei ist, vorgetragen mit Liebe und Mitgefühl für die guten Zeiten und die schönen Erinnerungen. Erneut in Zusammenarbeit mit ihrem TOPS-Bandkollegen David Carriere entstanden, enthält ,Mask Lady" Elemente, die sowohl von den chaotischen Pop-Girls der Y2K-Ära wie Uffie und Kesha als auch von Cikojevics Liebe zu Powerballaden-Sängern der 80er wie White Snake und Def Leppard inspiriert sind, zusammen mit den Vintage-Synthesizern, die ,Marci" eine warm-futuristische Ästhetik verliehen. Glam-Metal-Einflüsse treten bei ,Chaotic Princess" in den Vordergrund, geschrieben und produziert mit Mike Silver (CFCF), einem über-die-Spitzen-gehenden, gitarrenlastigen Knaller über eine verrückte Nacht, in der Cikojevic einen Polizisten anfleht, sie nicht ins Gefängnis zu bringen - Eddie Van Halen auf dem Beifahrersitz, Britney am Steuer.
